VOLUME IV.

1. Doctor Syntax at Liverpool Nov. 1 "

3. Doctor Syntax reading his Tour Dec. 1 "

5. Doctor Syntax Preaching Jan. 1, 1811.

7. Doctor Syntax and the Bookseller Feb. 1 "

9. Doctor Syntax at Covent Garden March 1 "

11. Doctor Syntax returned from his Tour April 1 "

13. Doctor Syntax taking possession of his Living May 1 "

The intermediate plates are landscapes, after anonymous artists, engraved in aquatint by Hassell and others.

1809. Beresford (James). _An Antidote to the Miseries of Human Life._ 8vo.

1809. _Rowlandson's Sketches from Nature._ Twelve views, drawn and etched by T. Rowlandson. Aquatinted by Stadler.

1809. _The Art of Ingeniously Tormenting._ Republished by Tegg. Plates by Woodward. 12mo.

1809. _Annals of Sporting._ By Caleb Quizem, Esq., and his various Correspondents. Published by T. Tegg.

The Courtier is thrown in pursuit of his game, The Poet's too often laid low, Who, mounted on Pegasus, rides after Fame, With 'Hark forward! Huzza! Tally-ho!'

1809. _The Trial of the Duke of York._ In 2 volumes. Published by T. Tegg.

1809. _Annals of Sporting._ By Caleb Quizem. Republished by Tegg. Plates by Woodward. 12mo.

Frontispiece. _The Bucephalus Riding Academy for Grown Gentlemen._ H. Bunbury del., Rowlandson sc.

Titlepage. Vignette; the Author thrown from his Pegasus. Designed and etched by T. Rowlandson.

Introduction. _Caleb Quizem, Esq._ Woodward del., Rowlandson sc.

_The Maid of Mim._

_Hounds._--1. Rugged and Tough. The Lion Hound. 2. The Black Straddler. The Short-legg'd Stag Hound. Woodward del., Rowlandson sc.

_Game Wigs._--1. A Long Bob. A Short Bob. A Black Scratch. A Physical Tie. A Sir Cloudesley Shovel. A Three Tier. 2. A Cauliflower. A Full Bottom. A Short Queue. A Long Queue. A Rose Bag. A Full Bag.

Costume of Hog's Norton.--1. A back-front view of Miss Dickinson's New Dress. 2. The Morning Dress of a Lady and Gentleman of Hog's Norton.

Fashionable Furniture at Hog's Norton.--1. Chimney Ornaments. Improved Trencher. Hogs Norton Recess. Fashionable Looking-glass. Fashionable Clock. 2. The Stocking Sweep. Colonnade of Streets. Fashionable Table. Cobweb Frieze. Sarcophagus, Cellaret, Coal-scuttle. Fashionable Chair.

How a Man may Shoot his own Wig.

The Bailiff's Hunt:--

1. Going out in the Morning. 2. In Full Scent. 3. Breaking Cover. 4. The Pursuit. 5. At Fault. 6. The Second Escape. 7. Double and Squat. 8. The Seizure.

_The True Method of Sitting a Horse, Mathematically Delineated._

1. Mathematical Horsemanship.--Mr. Ralph Marrowbone, forming an obtuse angle. 2. Tom Timorous, forming an acute angle. 3. Dickey Diaper, forming a right angle. 4. Mr. Robert Rasp, letting fall a perpendicular from his saddle. 5. Mr. Benjamin Buckskin and his horse performing their evolutions within the circumference of a circle.

How to Vault from the Saddle.

1809. _Advice to Sportsmen_, selected from the notes of Marmaduke Markwell. Republished by Tegg. Plates by Woodward, 12mo.

1809. _Advice to Sportsmen_, rural or metropolitan, noviciates or grown persons; with anecdotes of the most renowned shots of the day, exemplified from life, including recommendatory hints on the choice of guns, dogs, and sporting paraphernalia. Also characters, costume, and correspondence. Selected from the original notes of Marmaduke Markwell, Esq., with sixteen illustrations by Thomas Rowlandson:--

But a bold pheasantry, their country's pride, When once destroyed, can never be supplied.

'_Dedication._--To the most enlightened Sportsman in the metropolis of the British Empire; equally keen in pursuit of the hare, the haunch, the partridge, pheasant, woodcock, wild fowl, black or red game; devourer of the amphibious turtle, and terror of the Dutch; dead shot at a patriot; a marksman whose brilliant and sporting elocution can start a _Jubilee_ in the worst of times, whose merry jokes can create sport, and are the cause of sport to others: To Sir William Curtis, Bart., M.P. &c., &c., &c., these effusions of a City Sportsman are with all respect inscribed by his most devoted and obedient servant,

'MARMADUKE MARKWELL. 'Turn-again Lane, September 1, 1809.'

_Frontispiece._ The Cockney's first attempt at shooting flying.

_Illustrations._ Rat-hunting. How to twist your neck. Night. Noon. Morning. The dangerous consequences of sporting. Miss Spitfire's encounter. Advantage of coupling sporting dogs. Finishing a gamekeeper. How to come in at the death. How to cool your courage. A duck hunt in Bartholomew Lane. Neck or nothing. A shooting parson or pot-hunter. Evening.

1809. _The Pleasures of Human Life._ By Hilari Benevolus & Co., with five plates by Rowlandson, &c. Published by Longmans.

1809. _The Pleasures of Human Life._ Investigated cheerfully, elucidated satirically, promulgated explicitly, and discussed philosophically, in a dozen dissertations on male, female, and neuter pleasures. Interspersed with various anecdotes and expounded by numerous annotations by Hilari Benevolus & Co. (Fellow of the London Literary Society of Lusorits). (Mottoes from Milton, Dibdin, and Peter Pindar.) Embellished with five illustrations and two headpieces. London: Longmans & Co. Crown 8vo.

Front engraved by W. Bond, after W. Satchwell. Physiognomical vignette on title-page engraved by W. Bond, from _Bell's Anatomy of Expression_.

Of Rowlandson's illustrations the author observes, in his preface: 'The five illustrative commendatory etchings do not require any verbal explanation.'

Five prints by Rowlandson:--

1. Christopher Crabtree in the Suds. 2. Mr. Ego's marvellous Story. 3. Connoisseurs, or Portrait Collectors!

(The 'collector' in question is slily pocketing a print while the shopman's attention is diverted.)

4. A Brace of Full-grown Puppies, or my Dog and me. 5. Pleasures of Bond Street, or Fashionable Driving.

1809. T. Smollett: _Miscellaneous Works_. Twenty-six illustrations by Rowlandson. 5 vols. 8vo. Edinburgh.

1809. _Gambado. An Academy for Grown Horsemen, &c._ 8vo. Published by T. Tegg. (See 1808.)

1809. _Beauties of Tom Brown._ Frontispiece and illustrations by T. Rowlandson. Published by T. Tegg. 12 mo.

1809. _Views in Cornwall, Devon, Somerset, Isle of Wight, &c._

1809. _Scandal: Investigation of the Charges brought against H.R.H. the Duke of York by G. L. Wardle, Esq., M.P. for Devon, with the Evidence and Remarks of the Members._ Containing fourteen scarce portraits by Rowlandson, amongst which are Mrs. M. A. Clarke, Sir F. Burdett, Duke of York, Colonel Wardle, &c. 2 vols., 12mo.

FOOTNOTES:

[10] Mary Moser, the lively lady Royal Academician, and famous flower-painter, writing to Mrs. Lloyd, the first wife of the gentleman she subsequently honoured with her hand, conveys the following account of the reigning mode in town, to her friend in the country: 'Come to London and admire our plumes; we sweep the sky! a duchess wears six feathers, a lady four, and every milk-maid one at each corner of her cap! Your mamma desired me to inquire the name of something she had seen in the windows in Tavistock Street; it seems _she_ was afraid to ask; but _I_ took courage, and they told me they were _rattle-snake tippets_; however, notwithstanding their frightful name, they are not unlike a _beaufong_, only the quills are made stiff, and springy in the starching. Fashion is grown a monster! pray tell your operator that your hair must measure just three quarters of a yard from the extremity of one wing to the other.'

[11] 'Eighteen years before the date of the investigation (February 1809), Mrs. Clarke, then being about fourteen years of age, resided with her mother and step-father in Black Raven Passage, Cursitor Street. She was a very pretty, sprightly, gaily-disposed girl, being very fond of showing herself, and attracting attention. At this time Mr. Joseph Clarke, son of a respectable builder on Snow Hill (his father was the "great contractor" of his day, and a _man reputed to be enormously rich_) became enamoured of Miss Thompson, who readily received his addresses. She eloped with him, and they lived together about three years, when he married her. She conducted herself with propriety, and they lived together decently several years; in the course of which she bore him several children, four of whom are alive.'--_Gentleman's Magazine_, February, 1809.

[12] The name of Mrs. Clarke's father was Thompson, and he, it appears, was a master printer of some respectability, residing in Bowl and Pin Alley, near White's Alley, Chancery Lane, where Miss Thompson was ushered into the world, as Sterne has it, with 'squalls of disapprobation at the journey she was compelled to perform.'

Upon the death of Mr. Thompson, his widow married a Mr. Farquhar, who was engaged as a compositor in the printing house of Mr. Hughes. Miss Thompson was occasionally employed in reading copy to the person engaged as corrector of the press, in which situation she soon attracted the notice of the son of the overseer, who, recognising her abilities, had her placed at a boarding school at Ham, where the young lady, whose 'capacity for elegant improvements' was, if we trust her biographers, of an advanced order, soon acquired ornamental accomplishments; and, from the natural quickness of her parts, she returned, after an absence of two years, so completely altered in her ideas that she thought proper to despise and treat with coldness the attentions of Mr. Day, the well-meaning young gentleman who had been at the charge of finishing her education, it is said, with the view to a future union with this sprightly and promising female prodigy.

Her biographers have hinted at least one flirtation, possibly of a harmless description, before she arrived at the age of seventeen, when she threw in her future with Mr. Joseph Clarke, the hopeful son of a wealthy builder and contractor in Snow Hill. After a union of many years, during which she had experienced various vicissitudes, we find that the misconduct of her husband, who seems, on the whole--from the accounts of some of his contemporaries--to have done his best to deserve the treatment he received, although there are two sides to this story, determined the fascinating Mary Ann to trust to her own resources for support.

During her tenure of the 'neutral territory,' the name of more than one gentleman of gallant reputation and of rank was coupled with her own; but passing over the list of her admirers, we must mention a certain Mr. Dowler (whose name occurred frequently during the investigation), who seems to have had more faithful regard for the lady than her other doubtful lights of love. Mrs. Clarke further became ambitious of shining on a larger scale, and she had the honour of appearing on the boards of the Haymarket Theatre in the character of Portia. Great praise was awarded her performance; her natural abilities, with a certain vivacity, added to a well modulated voice and graceful action, were sufficient to qualify her for a successful actress; but she felt that her proper stage was the world, and she merely secured her introduction to the histrionic profession as an experiment towards promoting the foundation of her future fortunes, and her object in this regard seems to have been secured and her plans were successfully realised.

[13] _Minutes of Evidence_; and _Annual Register_, 1809.

[14] Mr. Burton's defence. _Minutes of Evidence._

[15] _Gentleman's Magazine._

[16] Colonel Wardle had promised, or clearly given it to be understood by Mrs. Clarke, that he would furnish a house for her at Westbourne Place, in part payment for her services in the prosecution of the Duke of York. Colonel Wardle, afterwards finding it convenient to deny that he had come under any such obligation, was sued at law by an upholsterer who had furnished the house; and, on the evidence of Mrs. Clarke and the upholsterer's brother, obliged to pay about 2000_l._, with costs. The day after judgment was given in this cause, Colonel Wardle published, in several newspapers, a note addressed to the people of the three kingdoms, declaring before God and his country that a verdict had been obtained against him only through perjury. During the progress of the trial, the colonel had written to his men of law again and again, desiring that Major Dodd, Mr. James Glennie, heretofore of the corps of engineers, and other respectable witnesses, should be examined; but the lawyers thought this unnecessary. The evidence of Mrs. Clarke, and of the brother of the upholsterer, on oath, would be overthrown by that of the respectable witnesses whom he had to bring forward on a second trial for which he had made application. But if so, what is to be thought of the evidence of Mrs. Clarke against the Duke of York?--_Annual Register_, 1809.

[17] March 23, 1809.--The Speaker put the question: 'That it is the opinion of this House that General Clavering in the said evidence is guilty of prevarication,' which was agreed to without a division; and General Clavering was ordered to be forthwith taken into the custody of the Serjeant-at-Arms.

March 24.--The Serjeant-at-Arms, having reported that General Clavering was in custody, Mr. W. Wynne moved, 'That, for his prevarication before the Committee of the whole House, General Clavering be now committed to Newgate, and the speaker do issue his warrant accordingly;' which was agreed to.

March 27.--Mr. Fane presented a petition from Captain Sandon, which, after stating his services in the army for upwards of thirty years in various parts of the globe, concludes with apologising for his conduct at the Bar of that House, by attributing it to the hardships he had recently undergone in Spain, combined with an injury sustained on the brain some time since, and the novelty of his situation when called on to give evidence.

March 28.--On the motion of Mr. Fane, Captain Huxley Sandon was called to the Bar; and, after a very impressive reprimand from Mr. Speaker, was ordered to be discharged out of custody on paying the fees.

[18] Sometimes the word 'York' is erased from the plate 'Transforming a Footboy into a Captain.'

[19] During the Parliamentary enquiry Mrs. Clarke appeared at the Bar of the House dressed in a pelisse and skirt of light blue silk, trimmed with white fur, with a white muff, and wearing a hat and veil of white, the latter turned up to show her face. Her features are described as more pleasing than handsome, according to recognised standards of regular types of countenance. Her complexion was remarkably clear and animated; and her eyes, which were blue, were large and full of light and vivacity. She was somewhat small in stature, her figure was well turned; and as her arms were much admired for their shapely form, she was partial to attitudes which showed them off to advantage.

[20] The Duke of York was reinstated in the office of Commander-in-Chief, May 26, 1811.

[21] Townshend, the Bow Street Runner.

1810.

_March 30, 1810._ _The Winding up of the Medical Report of the Walcheren Expedition._--The members of the Medical Board are standing in the stocks; on the green, in front of the sign of _The Goose_, which is surrounded with stores for the Walcheren Expedition, are laid the bodies of various sufferers, 'sent home for inspection.' The nature of the stores is somewhat exceptional. A case of champagne, marked 'Chelsea Hospital,' innumerable barrels of port and claret, marked 'T.K., for the hospital and for home consumption.' Barrels of porter, bales of cobwebs, and oak bark, 'charms for the cure of agues,' tincture of arsenic, and bottles of gin.

_April 12, 1810._ _Libel Hunters on the Look-out, or Daily Examiners of the Liberty of the Press._ Published by T. Tegg (4).--A committee of the _Rotten Borough Society, established in 1810_ (Gibery Vixe, president; Leatherbreech, vice), is met to consider the licence of the press, to bring all their faculties to bear for the detection of any lurking evidences of libel or treason. The President is reading aloud, with the assistance of a magnifying glass to enlarge any suspicious paragraphs; the members of the committee are all on the _qui vive_ to note any libellous allusions. Cobbett's _Register_ is under examination, _Magna Charta_ is trodden under foot, and the _Bill of Rights_ is thrown on one side. From the papers pasted as memoranda on the wall we are informed that 'Sir Francis Burdett is committed to the Tower;' that '_The Morning Chronicle_ knows no bounds and must be checked;' that 'Enquiries into the expedition to Walcheren be voted treasonable;' 'That the _Statesman_ must beware,' and 'A watchful eye be kept on the _Examiner_;' A 'Black list of those who vote in the minority,' &c.; 'A view of the Tower,' and 'Instructions to the Keeper of Newgate,' are among the notices put up for attention.

_April 20, 1810._ _A New Tap Wanted._ Published by T. Tegg.

_April 26, 1810._ _The Boroughmongers Strangled in the Tower._ Tegg's caricatures (8).--Sir Francis Burdett, while confined within the Tower, is signalising his prowess by the slaughter of a brace of the 'Caterpillars of the State;' like the infant Hercules, he is taking the dealers in corruption by the neck and throttling them. One of the beefeaters is enjoying the spectacle, crying, 'Bless him, I say; he's a rum un.' Over the portcullis of the Tower gate is an escutcheon representing the 'British Lion roused.' On one side of the postern is an apposite quotation from Shakespeare:--

This dear, dear land-- Dear for her reputation through the world-- Is now leas'd out ... Like to a tenement, or pelting farm; England, bound in with the triumphant sea, Whose rocky shore beats back the envious siege Of watery Neptune, is now bound in with shame, With inky blots, and rotten parchment bonds.'--_Richard II._

An extract from the Liberal Baronet's own speech is posted on the other side:--

From this foul and traitorous traffic our Boroughmonger Sovereigns derive an immense revenue, cruelly wrung from the hard hand of honest labour. I do, however, now entertain an ardent hope that this degraded and degrading system, to which all our difficulties, grievances, and dangers are owing, will at length give way to the moderate but determined perseverance of a whole united people.--SIR FRANCIS BURDETT.

One of the boroughmongering crew is already demolished; by his side, on the ground, are two money-bags, 'Rapine,' and 'Drainings from the hard hand of the industrious poor.' Of the twin wretches who are being strangled without mercy at the hands of Sir Francis Burdett one has in his pocket 'Barrow (borough?), in Cornwall, bought and sold; apply to----;' two money-bags, 'Extortion money,' and 'Bribery and Corruption bag,' are dropping from his hands; while in the pocket of the other nefarious agent may be seen 'Rotten borough to be disposed of.'

_May 1, 1810._ _Views of the Colleges. Front View of Christ Church, Oxford._

_May, 1810._ _Emmanuel College Garden, Cambridge._

_May, 1810._ _Emmanuel College, Cambridge._ (A nobleman presenting busts.) Published by R. Ackermann.

_May, 1810._ _St. Mary's Church. Radcliffe Library._ Published by R. Ackermann.

_May, 1810._ _Inside of the Public Library, Cambridge._ Published by R. Ackermann.

'Rowlandson's views in Oxford and Cambridge, 1810, deserve notice for the slight and pleasing manner with which he has characterised the architecture of the places mentioned; but it is impossible to surpass the originality of his figures. The dance of students and _filles de joie_ before Christ Church College is highly humorous, and the enraged tutors grin with anger peculiar to this artist's pencil. The professors in the view of the Observatory at Oxford are made as ugly as baboons, and yet the profundity of knowledge they possess is conspicuous at the first glance, and we should know them to be Masters of Arts without the aid of a background. The scene in Emmanuel College garden, Cambridge, exhibits the learned in a state of relaxation; several handsome lasses remove apples from a tree, and the indolent curiosity with which they are viewed by these sons of ease is very characteristic.'--_Malcolm's 'History of Caricature.'_

_May 5, 1810._ _A Bait for Kiddies on the North Road, or that's your sort--prime, bang up to the mark._ Tegg's caricatures (12).--The widow Casey's hotel offers 'genteel accommodation' on the road to 'York Races.' The prudent widow has supplemented the attractions of her house by engaging a handsome and buxom maid, who is attached to the inn as a decoy for the 'sprigs of fashion' who may happen to be driving on the North Road. The charioteer of a four-in-hand, a 'dashing blade,' made up in correct coaching style--voluminous necktie, coat down to his heels, and capes innumerable--has called for a bowl of punch, and is standing in the doorway, stroking the redundantly developed waitress under the chin.

_May 10, 1810._ _Kissing for Love, or Captain Careless shot flying by a girl of fifteen, who unexpectedly put her head out of a casement._

_May 10, 1810._ _Easterly Winds, or Scudding under Bare Poles._ Published by T. Tegg (2).--One of the landing stairs on the river. A gale is blowing, and the boats are dancing about. The watermen are pulling a skiff to the stairs; at the same moment a breeze is blowing off a parson's wig and hat, and carrying away his fair companion's parasol, bonnet, &c. The landing steps show a succession of disasters, an ascending flight of hats, caps, and wigs, of which the astonished wearers are suddenly denuded.

_May 15, 1810._ _Three Weeks after Marriage, or the Great Little Emperor Playing at Bo-peep._ Tegg's caricatures (16).--The new Empress is in a fierce passion, wreaking her vengeance on all around; Talleyrand is levelled with the floor by a blow from the sceptre; he is crying, 'Be Gar, she will give us all de finishing stroke.' A marshal is seeking refuge behind the curtains and declaring: 'Marbleu, vat a crown-cracker she be!' The little Emperor is dodging behind an armchair, beseeching his stricken prime minister, 'Tally, Tally,' to 'rise and rally.' The Empress is threatening to hurl the Imperial crown at her intimidated lord and master, protesting, 'By the Head of Jove, I hate him worse than famine or disease. Perish his family! let inveterate hate commence between our houses from this moment, and meeting, never let them bloodless part.' The coronation throne has the crown knocked off; and, kicked on the floor by this untamable Austrian, are all the conquered diadems of Europe, including the Pope's tiara and the iron crown of Italy.

_May 15. 1810._ _A Bonnet Shop._ Rowlandson del. Tegg's collection (17).--This plate is best described from the advertisement of the proprietress, displayed on her premises, for the manufacture of the straw bonnets and hats which were the _mode_ at the beginning of the century: 'Miss Flimsey's fashionable warehouse; the greatest variety of straw hats and bonnets made up in the most elegant taste. A large stock of Spanish, Flemish, Provincial, Gipsy, Cottage, Woodland, &c., &c., adapted to show every feature to advantage.'

An old fright is trying on an unbecoming straw-bonnet at a mirror, while a handsome saleswoman is puffing her wares. A number of pretty apprentices are trimming hats, and an antiquated quiz, with his spyglass, is poking his head through the window, and saluting the bevy of beauties with a satyr-like grin.

'_Miseries à la Mode._--The being over-persuaded by a canting shopwoman, in endeavouring to puff off a stale article, that it is the most becoming and suitable to your style of features; but on consulting your friends and acquaintance they pronounce it the most frightful, hideous, and unfashionably formed thing--that would disgrace Cranbourne Alley.'

_May 20, 1810._ _Peter Plumb's Diary._ Published by T. Tegg (18).--The picture represents the drawing-room of a 'warm citizen,' evidently 'worth a plum.' The corpulent master of the house and the no less well-favoured partner of his bosom are seated before a capital fire; the comfortable couple have drunk their port and supped their punch, of which a capacious bowl is ready to hand on a table between them; the host has smoked a whiff of 'Turkey' and then dropped off to sleep in his armchair; his wife has followed his example; and a fat poodle, snugly laid on a soft cushion before the fender, is dozing luxuriously; the motto of the house is written over the mantel: 'Eating, drinking, and sleeping, with the generality of people, form the three important articles of life.' The blooming daughter, a melting young damsel, has her own creed on the subject. An opportunity is offered for a little flirtation; a gallant and good-looking young buck is saluting her with a tender embrace; the pair have sat down to perform _duetto prestissimo_, but the swain's flute is discarded, and the fair pianist is negligently touching the keyboard to a lively air, _Lucy's Delight_, while the flirtation is proceeding undisturbed by the presence of the slumbering parents.

Peter Plumb is a desirable father-in-law, and his commercial interests are set forth in 'a view of Wapping Docks,' and a plan, suspended on rollers, for the 'new improvement of the Cattle Market in Smithfield.'

The existence of the sleeper would appear an easy one; witness the extract from _Peter Plumb's Diary_. This honest man being of greater consequence in his own thoughts than 'in the eye of the world,' had for some years past kept a journal of his life. _Videlicet_, the following exciting example:--

'_Monday._--Eight o'clock: I put on my clothes, washed hands and face. Nine o'clock: Tied my knee-strings, put on my double-soled shoes, took a walk to Islington. One o'clock: Took a luncheon. Between two and three returned. Dined on a knuckle of veal and bacon. Three: Nap as usual. Four to six: Walked in the fields. Wind S.S.E. From six to ten: Went to the club; was half-an-hour before anybody else came. Ten at night: Went to bed. Slept without waking till nine next morning. Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday: Little or no variation.'

_May 30, 1810._ _A Table d'Hôte, or French Ordinary in Paris._ (20).--The _Table d'Hôte_ is an appropriate companion to the _Paris Diligence_. The travellers have duly reached the capital, and a scene of Parisian life is shown on their arrival in the French metropolis. The _salle à manger_, where the ordinary is held, is a handsome apartment, decorated in showy taste with enrichments in plaster, canopies, curtains, mirrors, &c. The repast is in active course, and its humours are improved on with an observant eye. The company is diversified; there are _bourgeois_ and their wives, _petits-maîtres_, marquises, fat friars, and ladies of various degrees, all complaisance and graciousness. A Savoyard, with a hurdy-gurdy, and her daughter, with a triangle, are 'discoursing sweet sounds' to enliven the repast. A dog is taught to beg for food. The manners of the feeders are of different shades. Pledging toasts, flirtations, and small gallantries animate the severer business of the hour. Several whimsical accidents are introduced, results of awkward or inattentive service on the part of waiters; one grave citizen is receiving a scalding _bouillon_ in his eye, while a _bouilli_ is simultaneously poured over a bowing dandy; a glass of wine is capsized into a lady's plate while her attention is diverted; and a piggish priest, whose soup is suffered to stream down the corners of his fat jowl, has his shaven pate saluted by a cascade from a bottle tilted up by a heedless fair _domestique_, whose regards are engaged by the pleasantries of an amorous old fogey by her side, with whom she is exchanging jocularities.

1810 (?). _Paris Diligence._ Rowlandson del. et sculp. Published by T. Tegg.--This print is one of a class somewhat superior to the average series published in Cheapside. The scene is a favourite one with the artist, and his early experiences in France here serve him in valuable stead. It is in pictures of Continental life, before the aspects of the quaint and picturesque surroundings were entirely transmogrified by the French Revolution, that we recognise Rowlandson at his best. The value of these sketches is perhaps greater than of any other works his facile hand has bequeathed us, and the interest of these subjects is found to appeal to a larger circle of admirers.

The _diligence_ is starting from a massively built and handsome innyard, the sign of the _Coq en Pâte_. The 'machine' is a cumbersome vehicle, clumsy and heavy to an incredible degree. It is drawn--at no rapid pace, it is certain--by four strong, long, ill-favoured steeds, harnessed with ropes to the Noah's Ark-like contrivance, and ridden by two postilions, who are cracking their long thonged whips without producing much acceleration of speed in the toiling team. The timber of the diligence would be heavy for a gun-carriage, and the construction of the entire concern is perfectly primitive. A huge basket in front, about the size of a porter's lodge, is presumably the 'luggage boot;' below this are two small and heavy wheels, while at the other end of the machine are two enormous hind-wheels. The elongated body of the vehicle seems also to be made of rough basket-work. Through the unglazed spaces for windows are seen the occupants, who are travelling Pariswards: an assortment of corpulent and shaven monks, peasant women, and an old veteran with a formidable pigtail; a fashionable lady in feathers is ogling a beau wearing a powdered wig and enormous _solitaire_. The roof itself is also loaded; another fat friar, with shaven poll, is reading his book, over which is peeping a _débonnaire_ damsel of redundant charms, who is flirting a gigantic fan; an officer, with an enormous cocked-hat and a massive club, has his hands in a muff of pantomimic magnitude; by his side is a lively _grisette_, with a parasol; another officer is reclining behind.

The _diligence_ is attended by the usual mendicants, vociferously appealing for alms. The background is a quaint French town of some importance; a jack-booted rider is clattering along in the rear of a travelling-carriage, which is posting to the capital, driven by a postilion. Down the street is shown a procession of well-fed friars; and a party of devout nuns are striking attitudes at the foot of a carved figure. The whole picture recalls the precise aspect France wore at the time Sterne made his famous 'Sentimental Journey,' and the scene might well be a chapter from that picturesque pilgrimage.

_June 4, 1810._ _Love and Dust._ Published by T. Tegg. Republished. (See 1799.)

_June 5, 1810._ _Boxing Match for Two Hundred Guineas betwixt Dutch Sam and Medley, fought May 31, 1810, on Moulsey Hurst, near Hampton._ Published by T. Tegg. Tegg's caricatures (22).--The artist has drawn the fight, judging from the appearance offered by the opponents, during the first round, while all was cool and scientific. The champions, stripped to the waist, are sparring round one another on guard; their seconds are eagerly following up the principals; the two bottle-holders are seated on the grass. The spectators, a very orderly company, according to the picture, are arranged on the grass in a wide circle, while beyond the amateurs on foot is a ring of vehicles, on the roofs of which are perched the more fashionable portion of the patrons of the Ring, amongst whom are seen some of the softer sex.

'The concourse of people exceeded anything we have ever witnessed. The spectators were computed at ten thousand. At one o'clock the champions entered the ring, and Sam had for his second Harry Lee, whilst Joe Ward officiated for Medley. After a severe and bloody contest of forty-nine rounds victory was decided in favour of Sam.'

_August 8, 1810._ _Smuggling Out, or Starting from Gretna Green._ Rowlandson del. Schultz scul. Published by R. Ackermann, 101 Strand.--A gallant officer is assisting a pretty and precocious boarding-school miss to elope from a balcony window; a post-chaise is waiting in readiness to carry the fugitives 'across the Border,' and a servant in attendance has secured the damsel's personal belongings in a portmanteau on his shoulders.

_August 8, 1810._ _Smuggling In, or a College Trick._--The picture represents the corner of a college quadrangle. Three festive and mischievously disposed collegians appear at the window of their rooms; with the contrivance of a sling and a stout rope they are managing to draw up, clandestinely, as they fondly imagine, a pretty, modish, and, we fear, wanton maiden, who is not in the least terrified or abashed at her situation, but is entering into the spirit of the adventure. A frowning proctor, who is scandalised at these reprehensible irregularities, is standing in an angle, half-concealed in the shadow, scowling at the party, and waiting to dart out and surprise the violators of the academical proprieties at the critical moment for their detection.

_September 8, 1810._ _Procession of the Cod Company from St. Giles's to Billingsgate._ Published by T. Tegg (11).--A view of old Billingsgate, overlooking the river, with the fish being landed from the crowds of smacks at the old covered jetty, since swept away. The pilgrimage of the sturdy members of _The Cod Company_, we presume, is made to the craft on the river to take in cargoes of fish. The procession is composed of corpulent old Irish women, of colossal breadth and strength, all balancing their fish-baskets on their heads, some smoking their cherished clay pipes, and carrying their stoutly developed arms crossed, akimbo, or on their hips, after their individual proclivities.

_September 25, 1810._ _Rigging out a Smuggler._ Published by T. Tegg (8).--A party of sailors in a cabin are fitting out a handsome young creature to 'run the gauntlet' of the Custom-house officers, or rather to go on shore, with as full a cargo of excisable articles as they can secure round her person. Huge pockets of 'old Japan china, tea, gum,' &c. are disposed round her waist, together with a small keg of 'coniac,' and a flagon of otto of roses. Chests of Congou and Souchon and flasks of arrack are standings about.

_September 30, 1810._ _Dramatic Demireps at their Morning Rehearsal._ Published by T. Tegg (10).--The intention of this burlesque is a pun on _dram-atic_; the theatrical demireps being very ungallantly displayed in the Hundreds of Drury, inhabiting an attic, and indulging in matutinal potations of gin. The surroundings do not give a very cultivated idea of the actresses or their belongings. _The Chapter of Accidents_ seems to be the piece in rehearsal. The toilettes of the fair performers are shockingly neglected. Over the mantelpiece are various professional announcements 'for the benefit of the Theatrical Fund,' &c. By the side of an '_À la mode_ beef jug' is a melon marked 'Ripe--rotten,' and other ironical allusions to current scandals and personages then well recognised are posted on the walls, as sketches for portraits: _Peg and the Duke_, _Bald as a Coote_, _Little Darby O! Ever Craving_, and _Old Q._, and various innuendoes hardly flattering to the originals indicated.

_October 5, 1810._ _Sports of a Country Fair._ Part the First. Published by T. Tegg.--The bustling picture of a country fair in full operation. In the rear are swings, booths, and theatrical shows. In the foreground is shown a cart overset; a man is holding on to the head of the horse, which in rearing has snapped his girths and tilted the cart on end, while the late occupants are thrown down in motley confusion, sprawling on the turf, pommelling, kicking, shrieking, and throwing up their limbs, while eager groups of spectators are hurrying up to enjoy the disaster.

_October 5, 1810._ _Sports of a Country Fair._ Part the Second.--A nearer view of the same fair: the thick of the crowd; stick-throwing for snuffboxes, oyster-opening, pocket-picking, and a round-about swing; one of the boats is giving way, and a fair swinger and her swain are falling through. There is an inn where cordials are supplied, through the windows of which various scenes of love-making are visible. In the distance may be seen Polito's stage-booths, horse-racing, and other diversions.

_October, 1810._ _Sports of a Country Fair._ Part the Third. Published by T. Tegg.--The interior of another booth-theatre; the play is interrupted; the only performer on the stage is thrown into consternation, and the whole of the audience are dispersing in terror at an unexpected intruder. A royal Bengal tiger has made his escape from an adjoining show, and is bounding through the canvas walls of the theatrical booth, threatening to descend plump into the auditorium. The effect on the frightened playgoers may be well imagined. Some are prostrate with terror; one man is down on his knees and cannot move for fright; ladies are fainting; husbands are manfully endeavouring to carry off their wives out of the way of the terrible visitor, and everything is turned topsy-turvy.

1810. _Sports of a Country Fair._--The sport in this case is accidental, and the amusement verges on peril of a terrible character. A temporary theatre, _Cockburn's Company_, is on fire, and the spectators are escaping as best they may. The entrance is from a balcony reached by a flight of steps, and the frightened spectators are pouring out of the building, which is burning furiously, and throwing themselves pellmell down the steps, at the bottom of which they are sprawling, kicking, and plunging in fright and confusion. Certain buxom damsels are climbing over the balustrade and dropping from the balcony, with the musicians, into the arms of those below. A bill on the booth announces the _Last Night, Pizarro_ and _Don Juan, A Shower of Real Fire_, and _A View of the Infernal Regions_. Crowds are scudding away in the distance, and the other attractions of the fair are at a standstill.

_October 25, 1810._ _An Old Ewe Drest Lamb Fashion._ Published by T. Tegg. A deceptive old tabby, clad in a juvenile style, is dashing along in a high poke-bonnet; three or four Don Juans of eccentric exterior are hurrying after her to tender their attentions, an act of gallantry they are likely to regret on closer inspection. The quotation offered as _A Misery of Human Life_ runs thus: 'Walking fast and far to overtake a woman from whose shape and air as viewed _en derrière_ you have decided that her face is angelic, till, on eagerly turning round as you pass her, you are petrified by a Gorgon.'

_October 25, 1810._ _Spitfires._ Published by T. Tegg (44).

_October 25, 1810._ _Dropsy Courting Consumption._ Published by T. Tegg (45).--Outside a building marked _Mausoleum_--a dwarf rotunda beside a slender column--kneels a round ball of a suitor, who, it would seem, is destined never to recover his perpendicular; he is suing at the feet of an attenuated nymph, of straight and bony proportions, who it appears is in the last stage of wasting away. In the grounds a corpulent lady and a declining-looking gentleman of the Laurence Sterne type are contemplating a statue of Hercules.

_November 1, 1810._ _Doctor Gallipot placing his Fortune at the feet of his Mistress._ 'Throw physic to the dogs.' Republished. (See 1808.)

_November 1, 1810._ _Kitchen Stuff._ Published by T. Tegg (43).--A scene of low life below stairs. A fire is roaring up the kitchen grate, and a fat old cook, slumbering in an armchair drawn up to the kitchen table, has her feet resting on the chimneypiece, and a glass of 'cherry bounce' held in her chubby hand, to refresh her after the exertions of the day. A younger and proportionately comely and comfortable-looking kitchen-maid is also stealing 'forty winks,' with her head resting against the chimneypiece; while a fat black footman, who completes this evidently easy-going household, is indulging in the luxury of repose and pillowing his slumbering woolly pate on the ample shoulders of his shapely neighbour.

_November 19, 1810._ _A Hit at Backgammon._ Published by T. Tegg (No. 46).

_November 20, 1810._ _Medical Despatch, or Doctor Doubledose Killing Two Birds with One Stone._ Published by T. Tegg (47).--Reclining back in an armchair is an old invalid lady, evidently at the last gasp; her end is made still more certain by opium and composing draughts placed ready to her hand. On the armchair of the ghastly sufferer leans a pretty buxom girl in the flush of womanhood, who is wavering between grief and rapture--tears for her departing relative and regard for the caresses of the practitioner, who is dismissing his patient and courting a bride at the same moment. While one hand of the perfidious Doctor is carelessly holding the pulse of the sinking woman his arm is thrown round the neck of the blooming maiden, his fat features are expressive of maudlin tenderness, and his eyes are turned upwards in awkward admiration.

_November 20, 1810._ _Bath Races._ Published by T. Tegg (49).--The race appropriately starts from 'Cripple's Corner;' the halt, the maimed, and the lame are the competitors; it is, in fact, a race of Bath chairs and crutches, all tearing and tumbling down hill and blowing in the wind; the gouty hangers behind being urged forward, pushed, whipped, and cheered on by the delighted spectators. The city of Bath is slightly indicated in the rear.

_November 30, 1810._ _Doctor Drainbarrel conveyed Home in a Wheelbarrow, in order to take his Trial for Neglect of Family Duty._ Published by T. Tegg (23).

_November 30, 1810._ _After Sweet Meat comes Sour Sauce, or Corporal Cazey got into the Wrong Box._ Rowlandson del. Published by T. Tegg (24).--The Corporal has incautiously been paying a secret visit to a fine, plump and well-favoured damsel, on whose affections, it would seem, the man of war has no legitimate claim. The lady is snugly disposing her lover in a strong-box, with iron clamps, probably the sea-chest of the lawful proprietor of the chamber. Before closing the lid on the captive swain the buxom maid, at whose waist hangs the key of the chest, is favouring the suitor with a parting kiss. An old 'salt,' his few remaining hairs bristling with indignation and resentment, is looking in at the window and surveying the entire transaction before making his entrance on the scene. That the Corporal has fairly got into the 'wrong box' is further hinted by a trap at his side, in which an unfortunate rat is securely imprisoned.

1810. _The Harmonic Society. 'The Assemblies of women are too frequently marked by malice to each other, and slander of the absent; the meetings of men by noise, inebriety, and wrangling.'_--A companion scene to _The Breaking up of a Blue Stocking Club_ (March 1, 1815). The direst disorder, according to the plate, is proceeding around on all sides: the conflict of fists, aided by such aggressive articles as bottles, the fireirons, and any offensive weapon that may come to hand, is raging free and furious. The president of this _harmonic meeting_ is very naturally employing his hammer to bring the turbulent to order, by using it as an instrument to knock down his opponents. Wigs are sent flying 'through space,' chairs are wrecked; decanters, spirit-bottles, punchbowls, and such frail objects as tumblers, rummers, and wine-glasses, are involved in universal destruction. One elated youthful hero has jumped on the table in a tipsy frolic; he is promoting the further confusion which darkness will entail by deliberately smashing up the candles, and battering the sconces of the chandelier with the assistance of a punch-ladle.

1810. _The Sign of the Four Alls._--The four personages who constitute this famous view of the relative estates of the realm stand under niches; the head of the State is the first represented; and next, of course, is the Church; then the powers militant; and lastly, as a sort of necessary evil, the commonalty--perhaps better kept out of sight altogether, since the presence of the representative of this portion of the empire is not acknowledged by the other three, his pastors and masters. Number one, George the Third; the King in this case is represented strutting in awful but somewhat awkward majesty. To quote a national but lowly authority, Giles Grinagain:--

What! he the King? Why, that chap there? Why, I saw a king at Bartholomew Fair More like a king than that chap there!

The Bishop, a snug ecclesiastic, a remnant possibly of the bad old school of the Clarke preferments, all wig, lawn sleeves, mitre, and crozier, is raising his fat hands with sanctimonious import--'I pray for all.' As to the soldier, the military officer drawn by Rowlandson rather reminds one of Colonel Wardle, whose person the caricaturist had made a little too familiar--'I fight for all;' and lastly comes John Bull, under his agricultural aspect, a simple farmer, with his smock, hay-fork, and dog, and, what is more to the purpose, his bag of 'hard earnings' in his hand, on the strength of which he is admitted to join the quartette--on sufferance, it is palpable--'I pay for all!'[22]

1810 (?). _The Rabbit Merchant._ Published by T. Tegg (25).--The view of a country street; a rabbit seller, with a selection of his stock on his pole, is offering a choice to an old dame, who is somewhat hypercritical, and is employing a test which the rabbit merchant considers excessive and uncalled for; he is represented as offering 'the retort courteous' in justification of his goods.

1810 (?). _A Sale of English Beauties in the East Indies._--Although, as we have noticed, Rowlandson's work was stamped by the strongest originality, he, like other etchers of caricatures, often executed the ideas or worked out the first impressions of less experienced draughtsmen; however, unlike most engravers, he has left, in his numerous plates after Wigstead, Woodward, Bunbury, Nixon, Newton, &c. (in all cases the name of the originator is given), but slight traces of the defects and shortcomings of the amateur artists whose sketches he has put into circulation, the major part of the engravings bearing unmistakable and easily recognised evidence of Rowlandson's individuality. In the case of the present caricature he has, in some degree, departed from this practice, probably at the desire of the publisher of the print, and has gone to Gillray's large and spirited plate entitled _A Sale of English Beauties in the East Indies_ for the materials of his version of the same subject. It is noticeable, however, that while he has, in a free-handed manner, preserved the chief points and indeed most of the figures of the original (published March 16, 1786), he has forborne to put his own name to the copy. It is probable that the original version was, at the date of the smaller copy, in demand and difficult to purchase, and, to satisfy the requirements of both publishers and public, Rowlandson has etched this second edition of his friend's plate, Gillray having unhappily lost his reason at the date of the republication.

The scene is supposed to be drawn from one of the landing-places in the East Indies. A merchantman has arrived with a cargo which has proved a source of excitement and attraction to residents of all classes. The fair sex being in great apparent request, a shipload of English beauties on arriving in the East would naturally produce commotion and competition among natives and foreigners alike. A dapper auctioneer is mounted on a bale of books lately arrived, a similar package forms his desk, and he is knocking down a very attractive article, which seems likely to bring a handsome figure. A fine tall beauty is under the scrutiny of a rich Nabob; a young officer is trying to win her ear, and an envoy from the Government, with instructions in his pocket from the Governor-General, is calculating the lady's height with his walking-stick held as a measure. Similar incidents are represented around; the Rajahs are inspecting the latest importations with true merchant-like caution; sundry bargains have already been secured, and in the scales is shown a method of approximating valuations; a well-favoured arrival of the florid and fully developed type is set against a corresponding weight of 'lacs of rupees.' In the background is pictured a large warehouse for 'unsaleable goods from Europe--to be returned by the next ship'--and several damsels are in great distress at being forced to take refuge within this unpopular establishment.

1810. _A Parody on Milton._ Published by T. Tegg.

On she came--such as I saw her in my dream. Grace was in all her steps--heaven in her eye; In every gesture dignity and love.--MILTON.

A slipshod and tailorlike-looking old scarecrow, with spectacles on nose, and wearing a scarlet nightcap, is viewing with idiotic rapture the advent of a fat, inebriated, and dishevelled bacchante of mature charms, who, with a decanter in one hand and a glass in the other, is staggering into the chamber, to the amusement of a pretty servant-maid outside. The ancient dotard is making a parody on the quotation: 'On she came--such as I saw her in my dream. _Grease_ was in all her steps--Geneva in her hand; and every gesture reeling ripe for fun!'

_Circa 1810._ _Cries of London._ Thirty plates.

1810. S. Butler. _Hudibras._ With illustrations after W. Hogarth, engraved by Thomas Rowlandson. Republished. T. Tegg. (See 1809.)

FOOTNOTE:

[22] The satirical humours of this sign, which dates back from a recondite period, find a place in Larwood's valuable _History of Signboards_, who gives us further particulars from his own exhaustive researches. 'In Holland, in the seventeenth century, it was used, but the king was left out, and a lawyer added. Each person said exactly the same as our signboards, but the farmer answered:--

You may fight, you may pray, you may plead, But I am the farmer who lays the eggs--

_i.e._ finds the money.

'This enumeration of the various performances coupled with the word _all_ has been used in numerous different epigrams; an address to James the First, in the Ashmolean MSS., No. 1730, has:-

_The Lords_ craveth all, _The Queene_ granteth all, _The Ladies_ of honour ruleth all, _The Lord-Keeper_ sealed all, _The Intelligencer_ marred all, _The Parliament_ pass'd all, _He that is gone_ opposed himself to all, _The Bishops_ soothed all, _The Judges_ pardoned all, _The Lords_ buy, Rome spoil'd all, Now, _Good King_, mend all, Or else _The Devil_ will have all.

'This again seems to have been imitated from a similar description of the state of Spain in Greene's _Spanish Masquerade_, 1589:--

_The Cardinals_ solicit all, _The King_ grauntes all, _The Nobles_ confirm all, _The Pope_ determines all, _The Clergie_ disposeth all, _The Duke of Medina_ hopes for all, _Alonzo_ receives all, _The Indians_ minister all, _The Soldiers_ eat all, _The People_ paie all, _The Monks and Friars_ consume all, And _the Devil_ at length will carry away all.'

1811.

_January 18, 1811._ _College Pranks, or Crabbed Fellows Taught to Caper on the Slack Rope._ Published by T. Tegg (53).--Two portly, and highly respectable Fellows of the University, proceeding along their quadrangle, are assailed with a rough practical joke by a party of unruly young undergraduates; a rope is being suddenly lifted up with a hearty good-will by a riotous mob at either end, and the astonished 'dons' are tripped up and turned over like turtles on a memorial-stone--'Here lies the body of _Bishop Bleareyes_.' Squibs, squirts, and whips, in the hands of these disorderly students, are further contributing to the annoyance of the capsized magnates.

_February, 1811._ _A Sleepy Congregation._ Rowlandson fecit. Published by T. Tegg (54).--The interior of a parish church. Of the occupants of a family-pew in the foreground the elders are sleeping, while a fair young worshipper's thoughts are evidently wandering; the attentions of one or two buckish youths, seated in the vicinity, seem to be centred on the lady; the clerk is snoring at his desk, regardless of the podgy and somewhat excited preacher over his head, who is quite absorbed in his sermon, which does not seem to interest anyone but the deliverer.

_February 12, 1811._ _A Midwife going to a Labour._ Tegg's Caricatures (55).--The stout old nurse, a body of balloon-like expansiveness, is hurrying off, summoned to her duties, at an unearthly hour of the morning. Her head-gear is flowing about in the wind, her hood and cape are caught by the gale; a lantern is held in one hand, a brandy-bottle and a bundle, containing her luggage, are cuddled up in the other, and she is mounted on pattens. The night-watchman is dozing in his box, and a shivering chimney-sweeping lad is crouching along to his early toil, with brushes and bags.

_February 16, 1811._ _The Gig-Shop, or Kicking up a Breeze at Nell Hamilton's Hop._ Published by T. Tegg.--According to the picture of this place of 'fast' resort, dancing has given way to much rougher diversions, and, although the musicians are in their gallery, playing away as if the scene below was the regular thing, the place appropriated for the dance is given up to a _mill_ conducted on strikingly professional principles; one of the combatants has 'peeled' in recognised style, and his opponent has stripped to his shirt; the backers and seconders of the fisticuffing bucks (who are freely besprinkled with the ruby fluid) are members of the fair sex; in fact, ladies seem in the ascendant at this entertainment. A ring of delighted spectators are enjoying the fight and the fun from the benches, while other gentlemen are prudently engaged in restraining their fair partners from getting mixed up in the squabble which is raging fast and furious, thick and general, behind the two 'milling' gentlemen; ladies using their fists manfully, kicking, tearing hair, and throwing themselves into desperate warfare with terrific confusion and effect. In the foreground a fair nymph of interesting but dishevelled appearance, probably the _friend_ of one of the combatants, is falling into a fainting fit, from which the attentions of those who surround her seem inadequate to restore her to consciousness.

_February 20, 1811._ _Pigeon Hole, a Covent Garden Contrivance to Coop the Gods._ Published by T. Tegg (57).--The miseries consequent on heat and crowding in a restricted space, as displayed in the Pigeon Hole Galleries of John Kemble's newly-constructed Drury Lane Theatre, gave rise to the present caricature, which is further explained under the head of _This is the House that Jack Built_ (Sept. 27, 1809), and _The Boxes_ (Dec. 12, 1809). General dissatisfaction was expressed by all but the privileged subscribers; the lessee's treatment of the humble supporters of the drama, the frequenters of the gallery, gave special offence; and the illiberality of the management which provided such disgraceful accommodation for its patrons was resented by the unruly proceedings known as the _O. P. Riots_, which marked the public sense of the transaction.

_February 26, 1811._ _A French Dentist Showing a Specimen of his Artificial Teeth and False Palates._ Published by T. Tegg (58).--It is not easy to determine whether this caricature was intended solely as a satire or as an advertisement for some dental professor who was established here at the time. In Rowlandson's day, however, false teeth were sufficient novelties to be welcome subjects for ridicule. An overgrown and exuberantly corpulent female is serving as a sample of the Frenchman's skill; her widely distended mouth is liberally displaying a wonderful set of masticators. The professor is the typical foreigner of the period, wearing hair-powder, a bag-wig, and earrings. An old beau, looking through a quizzing-glass, is admiring the prospect of securing a decent set of teeth, his own gums exhibiting a very ragged and defective regiment. An advertisement in the rear sets forth: '_Mineral Teeth._--Monsieur De Charmant, from Paris, engages to affix from one tooth to a whole set, without pain. Monsieur D. can also affix an artificial palate or a glass eye in a manner peculiar to himself; he also distils, &c., &c.'

_March, 1811._ _Bacon-faced Fellows of Brazen-Nose Broke Loose._ Published by T. Tegg (59).--The persons of learned members of the Universities were not treated with a sparing hand by the satirist. Rowlandson has introduced various incidents of college life into his caricatures; but, throughout the series, the waggishly-inclined artist does not, we are afraid, exhibit any particular respect for _Alma Mater_. The Fellows of Brasenose are drawn, with unusual unction, issuing from their Hall and through the archways of the Colleges, dressed in their academic guise, and pouring forth like a sable stream of erudition. The various expressions and attitudes of the 'big-wigs' are vastly well hit off; their diversified peculiarities of face or motion are full of comicality. These grave sons of the Church are not free from gallant considerations--a buxom wench, with a basket of fruit slung round her shapely neck, is the centre of attraction; the 'Bacon-faced Fellows' are crowded around, bargaining for her ware and leering at the seller with undisguised and clumsy admiration. A reflection is cast on the _Vice_-Chancellor, who is vainly endeavouring to steal into his apartments without being detected by the rest of the sly grinning Fellows, with a weighty folio under his arm, and followed by an engaging young fruiteress, a lump of rustic innocence, bearing her baskets, for better selection from the contents, to the seclusion of the Vice's study.

_March 10, 1811._ _She Stoops to Conquer._ Published by T. Tegg (61).--The central room of a prison. Various strong doors and iron-grated windows open on the chamber. Bolts, padlocks, and strings of fetters indicate the nature of the security. Behind a grating is seen a prisoner, on whose behalf a buxom damsel is supposed to 'stoop to conquer,' since by dint of a plentiful repast, renewed strong potations, and those tender cajoleries which are believed to be the special weapons of the fair, the lady is evidently endeavouring to gain possession of the precious keys which will enable her to set her imprisoned swain at liberty.

_March 12, 1811._ _The Anatomist._ Published by T. Tegg (60).--The meaning of this print is not very obvious. It may be assumed that Dr. Sawbones has secured a new subject; but whether an admirer of the anatomist's lady has had himself conveyed into her presence by simulating death, or changing places with the 'subject,' does not appear. However, the critical situation of the lively gentleman on trestles does not seem conducive to a tranquil frame of mind; the operator is deliberately getting out his saws, knives, scissors, and other repellent anatomical instruments in a business-like spirit, for he has, according to an announcement, to deliver _A Course of Anatomical Lectures, accompanied with Dissections_, and he is in want of a subject for demonstration. The lady, filled with the direst apprehensions, is trying to impress on the anatomist the remarkable and unusual fact that the dead man has returned to life.

_March 16, 1811._ _Sailors on Horseback._ Published by T. Tegg (62).--This print is one of the numerous instances of subjects designed by amateurs and given to Rowlandson to engrave, and, in most respects, to put into shape. According to the humours of this print four sailors, mounted on horseback, are going off on an equestrian cruise by the seashore. The British Tar most at his ease has been lashed with strong cables to the back of his steed beyond a chance of drifting loose: 'Here I come, my hearties, right and tight--smart sailing; but never mind that--I can't be cast away, for my commander, Heavens bless him, has lashed me to the deck with some tough old cables!' His neighbour, who has a restive horse, requests, 'Keep more to the starboard, and be d---- to you; don't you see how you make my vessel run ahead!' A third, riding behind, is mounted on an animal who is taking into his head to launch out in the rear: 'D---- me, how she heaves; why, this is worse than a jolly-boat in the Bay of Biscay!' A comrade, having had a spill, has been left on the road, and is in danger of being run over: 'Mind what you are at, messmates, for I am upset, and the frigate I came on board of has been under way without me this half-hour.'

_March 28, 1811._ _Kitty Careless in Quod, or Waiting for Jew Bail._ Published by T. Tegg (65).--A dashing young lady of fashion, who has evidently been running ahead of the constable, is 'laid by the heels' in a spunging-house; the apartment in which she is lodged belongs, it appears from a printed notice on the wall, to _MacNab, Sheriff's Officer for the County of Middlesex--genteel accommodation for ladies and gentlemen_. Heavy locks and bolts to the door, and massive bars to the window, indicate the security of Kitty's keeping. The fair captive does not seem depressed by her confinement: seated before a glowing fire, her legs crossed in easy indifference, the prisoner is drinking bumpers of port wine with her captors; a spectacle by no means unusual in the days of this publication, when the extravagances of people of fashion were constantly leading them to the confinement of a spunging-house.

_April 1, 1811._ _Pastime in Portugal, or a Visit to the Nunneries._ Published by T. Tegg (64).--The principal figure in this picture is that of a young officer belonging to the British army opposed to the French legions on the Peninsula; in company with a Portuguese don he has come to visit one of the nunneries which were sufficiently abundant in the country; three well-favoured members of the sisterhood and a sour-looking old harridan, by way of duenna, have come to the 'grill,' or large grated window, which was employed to cut off the 'cloistered ones' from the rest of the world. We are able to gather from the illustrations of the period that travellers were accustomed to make visits to nunneries, where they purchased objects manufactured by the inmates, who were regarded by our countrymen as a kind of show; the visitors, however, were always restricted to the outside of the grating which separated the sisterhood from more intimate association with a wicked world. In Rowlandson's sketch the pretty nuns are offering silk purses, of their own knitting, to their dashing visitor, whose attention is more exclusively occupied by the very decided personal attractions of the fair recluses.

_April 5, 1811._ _The Last Drop._ Published by T. Rowlandson, 1 James Street, Adelphi.--A short and corpulent _bon-vivant_, not unlike a balloon in figure, whose waistband has been abnormally distended by the bibulous propensities of the owner, is standing on tiptoe tilting up to his eager lips a huge punchbowl, too well filled to be lifted bodily; he is transferring the contents to his own inside with much gusto. While the veteran and inordinate toper is greedily engulfing his last bumping measure he is too busily engaged in the important work in hand to notice that _Death_, in his bony personality as a ghastly skeleton, is helping to raise the finishing bowl, while the fatal dart is poised over his head, ready for the stroke which will follow this last potation before the tippler has time to recover his breath. The stout gentleman has evidently enjoyed a lengthy innings, and, from the instances scattered about him, he has made the most of his opportunities; he is surrounded by the remnants of the good and bad things with which he has made away--barrels of stout, bottles of port, puncheons of _usquebaugh_, and spirits of all sorts; in fact, a very cellar of the strong drinks which in his day have fallen to the share of the departing toper.

_April 9, 1811._ _Boney the Second, or the Little Baboon Created to Devour French Monkeys._ Published by T. Tegg.--'Boneyparte,' in his general's uniform, is seated before the fire, making caudle--of French blood--for the infant prince; a row of sovereign-crowns, wrested from the wearers, are ranged on the mantelpiece. Napoleon's heir, the miniature of his sire, with the addition of a monkey's tail, is tearing and clawing at his parent, and is held on a cushion placed outside the Imperial cradle, which is inscribed _Devil's Darling_. Napoleon is haranguing in his usual grandiose style: 'Rejoice, ye Frenchmen; the fruits of my labour has produced a little image of myself. I shall, for the love I owe your country, instil in my noble offspring the same principles of lying, thieving, treachery, letchery, murder, and all other foul deeds, for which I am now worshipped and adored!' The Pope is kneeling by his side, and pronouncing by way of a benediction over the infant:--

The owl shriek'd at thy birth, an evil sight; The night-crow cry'd, foreboding luckless time; Dogs howl'd, and hideous tempests shook down trees; The raven rock'd her on the chimney-top, And chattering pies in dismal discord sung.

_April 10, 1811._ _A Picture of Misery._ Published by T. Tegg (70).--The bare and chilling chamber is occupied by a leaden-hued and sordid-looking miser, opposite to whom is seated an individual of starved aspect; a pinched and shrivelled old beldame is seen at the door. A table of interest is the only literature the room can boast. The miser is crouching before the grate, and snuffing out the single candle for economy. Above the usurer hangs his own portrait; he is painted congenially occupied in weighing guineas; a list of securities, 'Stock Ex., Bank Stock, 3 per Cents., Imperial, Omnium, South Sea, Exchequer, Lottery,' &c., recalls sweet reflections. Below are the lines:--

Iron was his chest, iron was his door; His hand was iron, and his heart was more.

_April 12, 1811._ _Puss in Boots, or General Junot taken by Surprise._ Rowlandson del. Published by T. Tegg (71).--A dashing young damsel has secured the jack-boots, cocked-hat, and long sword of General Junot, and is assuming valiant airs, dressed in these borrowed plumes, and threatening the French commander--who is helpless and in bed--with his own weapons.

_April 14, 1811._ _Nursing the Spawn of a Tyrant, or Frenchmen Sick of the Breed._ Published by T. Tegg.--The Empress of the French is in consternation at the precocious fury of her progeny, who, with an orb in one hand and a dagger in the other, is threatening destruction around; while the Emperor is listening behind a curtain; the pope and other Roman-Catholic hierarchs are offering 'composing draughts,' and suggesting to send the infantine monster to his supposed diabolical 'grandpapa' as quickly as possible. The Empress is thus proclaiming the terrors of her situation: 'There's no condition sure so curst as mine! Day and night to dandle such a dragon--the little angry cur snarls while it feeds; see how the blood is settled in his scarecrow face; what brutal mischief sits upon his brow. Rage and vengeance sparkle in his cheeks; the very spawn and spit of its tyrant father. Nay, now I look again, he is the very picture of his grandfather, _the Devil_!'

_April 20, 1811._ _The Enraged Son of Mars and the Timid Tonsor._ Published by T. Tegg (67).--The picture represents the interior of a barber's shop, a favourite subject with the caricaturists. A stout customer is expressing slaughterous intentions; a choleric old boy, probably an officer of the Militia, with the shaving-cloth round his short neck, is vowing vengeance on the head of the frightened barber, who has been so _maladroit_ as to carve a tolerable gash in the veteran's round cheek. The tonsor's wife, who is also engaged in the business, is, while holding the soap-bowl and lather, thrown into consternation at the uproar raised by the damaged client. An assistant, who is employed in cutting the hair of another customer, is equally distracted, and, in his trepidation, is threatening the ears of his unconscious subject. The barber's monkey--for barbers have in all time enjoyed the credit of being fanciers of live stock--is lathering his head at a toilette-table, in imitation of the actions of a venerable personage who has just had his head shaved. Various blocks, with their attendant wigs, are ranged round the shelves of the shop, telling of the day when a gentleman's head of hair was sent out to be dressed, while he kept a change of wigs for convenience-sake; here we find parsons' blocks, clerks' blocks, doctors' blocks, lawyers' blocks, and other professional 'caxons,' the heads of the learned being distinguished by their respective wigs. Various sketches appear on the walls, the subjects being selected with a view to their trade appositeness. One picture represents the fate of Absalom, delivered to destruction by his luxuriant locks: 'O Absalom, my son, my son! hadst thou wore a wig this ne'er had happened,' &c., &c.

_April 24, 1811._ _Rural Sports. Cat in a Bowl._ No. 1.--The pastimes of our forefathers, before the establishment of Humane Societies for the Prevention of Cruelty to Animals, were too frequently of a barbarous description, and the cruelties then tolerated for mere sport were undoubtedly most reprehensible. The caricaturist has contrived to surround these wanton displays with an air of hilarity, and the spectacle of a 'cat in a bowl,' apart from the brutality of the fun, is not without its whimsical attractions. A favourite cat, the property of a distracted spinster, has been launched upon the water in a bowl, which is shown spinning round with the current, to the terror of the involuntary voyager, whose dread of immersion combined with her exertions to escape from this embarrassing situation, which threatens to capsize the treacherous craft at every turn, seem to afford the frivolous audience unqualified amusement. A lad is seated on the bank, with a girl by his side--probably the authors of the mischief--holding a barking dog, ready to attack the frightened creature if she comes too near the shore. Parties taking the air in chaises, and promenaders, the loiterers from the alehouse, pipe in hand, and various rustic groups gathered round the brink, are intensely diverted at the scene. Not so the owner of the cat; the horrified old maid, rendered desperate by the precarious situation of her pet, is pulling up her skirts and plunging forward in a vain endeavour to reach the slippery bowl, which is out of her reach; while a second old lady is doing her best to assist her friend. A little further down the bank the artist has introduced another reckless episode; a pair of horses are running away with a tandem, which is being overturned, and the driver and a stout female by his side are just on the point of being tumbled out without ceremony.

_May 1, 1811._ _A Dog Fight._--There is a note on the proof impression of this plate in the writer's collection, to the effect that the print was never published. The spectacle represented is remarkably animated; the various incidents of the brutal exhibition are seized with a masterly hand; the enthusiasm and excitement of the audience are done full justice to. Drinking, betting, squabbling, an irregular scrimmage, picking of pockets, and similar humours are treated with due appreciation. The backers of the losing dog are thrown into dismay, as their faces sufficiently indicate; while the satisfaction which fills the supporters of the winning side is well expressed. The spirit of the picture is much increased by the introduction of numerous dogs, ferocious-looking 'varmints,' struggling to join the fray, and only held back from the stage of conflict by the most desperate exertions on the part of their owners; these combatively-minded animals are probably the heroes of coming tournays. The scene of this cruel sport, since made unlawful, is probably the 'Westminster pit,'[23] where such spectacles were constantly held, and attended by persons of rank and fashion, as well as by the dregs of the sporting and dog-fancying fraternities, whose presence, as shown in the study, is tolerably marked.

_May 1, 1811._ _Touch for Touch, or a Female Physician in Full Practice._--The figure of the fair practitioner is highly spirited,--a handsome young female, whose person is set off with all the allurements of fine clothes, well-dressed hair, and waving plumes. A decrepit and toothless patient is evidently grateful to the doctress; he is filling the hand of the distinguished physician with gold-pieces before she leaves the apartment, or more properly consulting-room, which is further set off with a picture of Danae collecting a shower of gold.

_May 4, 1811._ _Who's Mistress Now?_ Republished. (See 1802.)

_May 16, 1811._ _The Bassoon--with a French Horn Accompaniment._ Published by T. Tegg (75).--A couple of slumberers, with their noses elevated above the bedclothes, are evidently executing variations in a snoring fashion more powerful than pleasing:--

Hush ev'ry breeze; let nothing move: My Celia sleeps and dreams of love!

_June 4, 1811._ _Summer Amusement. Bug Hunting._

_July. 1811._ _A Ghost in the Wine Cellar._ Published by T. Rowlandson, 1 James Street, Adelphi.

_July 14, 1811._ _Easter Monday, or the Cockney Hunt._ Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi.--The old Cockney hunt is in full swing; the hounds are streaming over some palings in the way of their run; a poor little huntsman, perched upon a white mare, in attempting the jump has lost his whip, missed his seat, and is being thrown over the neck of his horse; while a spirited belle is leaping her horse in true sportsmanlike style.

1811 (?). _Rural Sports._

1811. _The Huntsman Rising._ Republished. (See 1809.) Published by T. Rowlandson, 1 James Street, Adelphi.

1811. _The Gamester Going to Bed._ Republished. (See 1809.) Published by T. Rowlandson, 1 James Street, Adelphi. According to the original drawing (see Appendix, collection of John West, Esq.) it appears, from a paper spread before the desperate gambler, that he has been tempted to give the _coup de grâce_ to his reckless career by committing a forgery.

_August 20, 1811._ _Love Laughs at Locksmiths._ Designed and published by T. Rowlandson, 1 James Street, Adelphi.--The stronghold in which an old Israelite has confined his treasure has enormous padlocks on the area gate and the door studded with nails. The proprietor has returned with provisions for a merry-making; a porter bearing on his head a basket containing geese, fowls, fish, and fruit, with a flask of wine in his hand. The old curmudgeon's crutch is leaning against the door, and he is fumbling over the immense padlock, quite unconscious that a smart young officer, who has placed a ladder against the window of his lovely inamorata's apartment, is helping the captive bird to freedom from the clutches of her jealous jailer.

_August 30, 1811._ _Masquerading._ Published by T. Tegg.--The comicalities of a masquerade at the beginning of the century, when this class of entertainment, although declining since the palmy days of the Pantheon and Madame Cornely's extravagances in Soho Square, was more prevalent than at present, are set forth with due observation of the leading characteristics. Prominent among the maskers is a lady-magician, with her divining-wand and a book of the 'black art,' confronting a nondescript necromancer and his zany. There is a nobleman wearing horns as a becoming decoration for his head; and our old friend Punchinello, with a guitar, putting himself into grotesque contortions. There is a composite personage, a kind of _Janus_, an established feature in old _bal masqués_, one side male and the other female. There is a Folly, a councillor, and the usual attendance of dominos, masquers, and characters, whose disguises are of a speculative description.

_September, 1811._ _Accommodation Ladder._ Published by T. Tegg (85).--At the feet of a gigantic and finely-built wench is a rotund yet diminutive Admiral, with cocked-hat, telescope, sword, and all complete; his broad riband is marked _Death or Victory_. For his accommodation, that he may be able to reach her countenance within hailing distance, the lady, who is more than twice the height of her admirer, is holding a ladder ready for his ascent. The belle wears a gallant plume, and a streamer with the motto _England expects every man to do his duty_.

_September 12, 1811._ _Sorrow's Dry, or a Cure for the Heartache._

_September 20, 1811._ _Looking at the Comet till you get a crick in the neck._ Published by T. Tegg (91).--A slipshod, lean old anatomy, in dressing-gown and slippers, is straining his ancient crooked neck staring at a comet through a spyglass. A comely young female, seated in an armchair at the window, is pointing out the phenomenon to the gazer; meanwhile a youthful gallant, on his knees beside the lady, is squeezing her hand, tenderly pressing her foot, and otherwise striving to enlist her interest by a demonstrative display of affection.

_September 25, 1811._ _Life and Death of the Race Horse._ Published by T. Tegg (90).--This print is divided into six stages. The first represents the foal by the side of his dam; in the second he is pictured as a racer on the course in all the pride of strength and beauty, blood and limb. In the third stage he has come down to a hunter; from thence, with old age fast approaching, he is used to run in a postchaise. In the fifth plate we find the whilom racehorse grown aged and broken down, and condemned to end his wretched days belaboured as a pack-horse. In the last stage the racehorse's career is brought down to his death, and a huntsman has purchased his carcass to feed his pack.

_September 29, 1811._ _Rural Sports. A Milling Match which took place at Thisselton Gap, in the county of Rutland, September 28, 1811, betwixt Cribb and Molineaux, on a twenty-five foot stage, and was the second public contest between these two pugilists. It lasted nineteen minutes and ten seconds, and was decisive in favour of Cribb._ Rowlandson del. Published by T. Tegg.--The point from which the picture is taken affords a good view of the combat, which is about concluded. Cribb, a massively-built boxer, is dealing the black champion such a felling blow as, judging from the dismay expressed in the faces of the two supporters of Molineaux, one of whom is also a man of colour, will leave the victory in the hands of the striker, whose backer and bottle-holder are in raptures. Round the raised platform which constitutes the ring is gathered a very animated throng, amidst which the artist has depicted the various popular incidents of pushing, struggling, climbing on shoulders, quarrelling, picking pockets, cheering, and resenting the encroachments of men on horseback. A prize-fight would seem to have been an institution in fashion at the beginning of the century; the streams of vehicles, coaches, tandems, curricles, and every contrivance 'on wheels' which surround the stage and line the background give the scene the appearance of a Derby course. The presence of the fair sex, who seem to appreciate the performance, keeps up the animation of the picture.

_October 1, 1811._ _Rural Sports. Smock Racing._ Published by T. Tegg.

_October 2, 1811._ _John Bull at the Italian Opera._ Republished. (See Oct. 2, 1805.) Designed and published by T. Rowlandson, 1 James Street, Adelphi.

_October, 1811._ _Rural Sports, or a Game at Quoits._--A village green, with an alehouse in the rear, is the scene of this diversion. Various loving couples are disporting themselves on benches and at round-tables by the alehouse door. The village cobblers, blacksmiths, tailors, butchers, &c., are neglecting their trades to follow the game; their injured wives have come to reduce the careless husbands to a proper sense of their duties. One shrewish spouse, leaning over the paling, is flourishing a broom with a force of arms that threatens to astonish her good man, whose attention is occupied in the game. Over the head of the victim is a board, _Washing and mangling done here_. Various convivial groups are scattered around.

_October, 1811._ _Rural Sports, or how to show off a well-shaped Leg_, introduces a rustic pleasure-ground. A rope thrown between two tall trees furnishes a swing for a well-developed and gaily apparelled hoyden; another maiden is working the rope which swings her friend; the attractions of the second lady have absorbed a young gentleman, whose attentions to the fair rope-puller are 'particular.' A group of wicked old roysterers are delighted with the prospect of the swinging hoyden--their pipes and bowls are neglected in their rapturous attention to the evolutions of the fair occupant of the swing, and their indignant wives are vainly endeavouring to recall them to a sense of propriety.

1811. _Twelfth Night Characters_, in twenty-four figures, by T. Rowlandson.

_October, 1811._ _Rural Sports, or a Cricket Match Extraordinary._ Published by T. Tegg (96).--On Wednesday, Oct. 3, 1811, a cricket match took place at Balls Pond, Newington. The players on both sides were women--11 Hampshire against 11 Surrey. The match was made between two noblemen amateurs of the respective counties for 500 guineas a side. The performers in the contest were of all ages and sizes. Such a subject in the hands of Rowlandson afforded almost unbounded opportunities for the exercise of his grotesque talents and his command of figure-drawing. The scene is a busy one, as may be conceived; a certain artistic freedom has been assumed, and there is a liberal display of limbs in all directions, the skirts of the cricketers being tucked up for convenience of motion; the performers, however, seem to enter into the contest with spirit, if not skill. Balls Pond, as seen in the engraving, is a fair open country, without a trace of a solitary habitation. A spacious tent, in the background, is erected for the _Jolly Cricketers_, wherein the noble patrons of the sport are fortifying the players with huge bowls of punch, restoratives which do not appear to promote the most orderly proceedings.

1811 (?). _The Jockey Club, or Newmarket Meeting_ (111) (Betting Room).

1811 (?). _The Sagacious Buck, or Effects of Waterproof._

1811 (?). _Richmond Hill._ After H. Bunbury. (See 1803.)

1811 (?). _French Inn._ ditto.

1811 (?). _Quaix de Paris._ ditto.

1811 (?). _A Country Club._

1811 (?). _Recruits._ (See 1803.)

1811 (?). _Morning, or the Man of Taste._ After H. Bunbury.

1811 (?). _Evening, or the Man of Feeling._ ditto.

1811 (?). _Conversazione._

_October 11, 1811._ _Six Classes of that Noble and Intelligent Animal--a Horse._

The Race Horse. The Shooting Pony. The Gig Horse. The War Horse. The Hunter. The Draught Horse.

_October 10, 1811._ _Distillers looking into their own business._ Published by T. Tegg.--The principal objects in the print are a still and a cask of double-rectified spirits, into which three members of the firm are involuntarily infusing foreign elements.

_October, 1811._ _Dinners Dressed in the neatest manner._ Published by T. Tegg (112).--The preparations of the cook in question are not calculated to increase the appetite of the observant epicure; the _chef_ is hideous, old, rheumy, slovenly, and diseased; he is kneading the paste with his objectionable hands, his snuffbox is on the board by his side; while a blowsy and uncombed slattern is reaching down a pie-dish, in which the rats have been revelling; the bold depredators are scampering off no farther than the next dish. (Companion to _Distillers looking into their own business_.)

_October 25, 1811._ _A Trip to Gretna Green._ Designed and published by T. Rowlandson, 1 James Street, Adelphi.--The scene of the situation is the green at Gretna, before the shed of _Tim Tag, 'Blacksmith and Rector.'_ The worthy is in his clerical character, decently clad in professional sables; and, with spectacles on nose, he is reading the service, in a somewhat extemporary fashion, over a fugitive couple, in the open air. A dashing captain, dressed in his regimentals, as was then the everyday fashion in the King's service, is placing a ring on the finger of a comely maiden of tender years, who is smiling and blushing. The postilion who has driven the runaway pair to this stolen match is standing, cap in hand, grinning at the ceremonial. While the blacksmith is rivetting the fetters of Hymen in his clerical character, his professional helpers are looking to the shoes of the horses which are to bear the newly-married couple across the Border.

_October 25, 1811._ _Rural Sports. Balloon Hunting._ Published by T. Tegg (157).--The balloon is drifting before the wind beyond the control of the aeronaut; a fair voyager is making a terrific descent with a parachute in the midst of a flock of birds; from the top of a tall tower a gentleman is taking deliberate aim at the flying machine, probably with a view to bring it down by blowing a hole through the body of the balloon. In the foreground is shown the mishap of the balloon-hunters; a stout old gentleman is endeavouring to drag his vehicle up hill; his horse is shying and kicking; a dog is barking at the animal's head, the shafts are snapped, and the trap is kicked over; three fair riders are thrown out in picturesque confusion on the turf, and scattered with bottles and a bundle.

_November 25, 1811._ _English Manner and French Prudence; or French Dragoons brought to a check by a Belvoir Leap. A Scene after Nature near Cuidad Rodrigo. September 1811._ Published by H. Humphrey, St. James's Street.--'Lord Charles Manners was a famous horseman, and unexpectedly one day came upon a French cavalry picket, who gave chase until a brook was reached, which Lord Charles immediately cleared, making a salute, and bidding the Frenchmen (who were so surprised as not to fire until too late), '_Adieu, messieurs!_' A paragraph from one of the London papers of the day makes the foregoing record of the exciting incident. This gallant exploit is treated pictorially by Rowlandson. Lord Charles Manners is taking the brook in an easy stride, his horse bearing him over 'like a bird,' while his ferocious-looking pursuers are brought to a full stop at the brink, and as the daring horseman is bidding farewell to the enemy they are nonplussed with astonishment at the reckless feat, which they have no ambition to follow. There is a disappointed knot of French officers, dragoons, huzzars, &c.; they are all uttering ejaculations of surprise and cursing the fugitive: _'Sacrebleu!' 'Mais comment, &c.'; 'Quel diable d'Anglois!' 'Est-il possible?'_

_December 2, 1811._ _A Man of Feeling for the Human Race._ Published by T. Tegg (126).--Represents the college rooms of a Master of Arts and a Fellow of decidedly convivial tendencies, whose predilections appear to be the reverse of ascetic.

_December 9, 1811._ _Bel and the Dragon._ Published by Stockdale.--Doctor Bell, in wig, gown, cassock, and bands, is standing calmly before a very terrific pantomimic representation of a dragon. Before the Doctor--over whose head shines the glorious midday sun, figuratively set forth--is extended the buckler of _Religion_ held by the stalwart arm of the _Marsh Clergy of Monarchists_. Dr. Bell is pointing triumphantly to his school, a dignified pile, founded on a commanding eminence, marked _Church and State_. Behind 'the Dragon' is the rival establishment, _Lancaster's School under the Broad-brim System_, raised on _Deceit and Misrepresentation_. The Dragon's tongue, labelled _Falsehood_, is pouring forth smoke and flames, and his claws, _Hypocrisy_, _Vanity_, _Misrepresentation_, and _Calumny_, are extended to maul the reputation of the opposition champion.

_December 15, 1811._ _A Milk-sop._ Published by T. Tegg (125).--A pretty milkmaid, with her yoke and cans, is passing the chambers of a gallant collegian at one of the Universities; the shameless undergraduate, in cap and gown, has waited his opportunity, and as the buxom wench is passing his open casement he is leaning out of window, throwing his arm round her buxom waist, and is indulging in a chaste salute, which is cordially received. A tutor, or proctor, dodging round 'the quad,' is horrified at the scandalous licence; a sturdy infant is carried in one of the pails, the other is filled with cream, and offers a rare opportunity for plunder, of which a passing dog is not slow to avail himself--raised on his hind legs he is lapping up the welcome fluid at his leisure.

1811. _Royal Academy, Somerset House, London._ Rowlandson fecit.--The members, who are studying from the nude, are all well advanced in years. The seats and drawing-stands of the old Life Academy are arranged in a horseshoe; the first or inner row of students being seated, while those who form the outer semicircle are standing at their easels. An agreeable and graceful-looking female model is posed beneath the reflectors in an easy attitude which she is preserving with the assistance of a looped rope slung from the roof.

1811. _The Harmonic Society._ (See October 2, 1810.) Republished.

1811. _Miseries of Travelling. A Hailstorm._ Designed by H. Bunbury, etched by T. Rowlandson.

1811. _A Tutor and his Pupil, travelling in France, arriving at a Posting-house._

1811. _The Departure of La Fleur._ Vide _Sterne's 'Sentimental Journey.'_ Designed by H. Bunbury, etched by T. Rowlandson.

1811 (?). _Exhibition 'Stare' Case, Somerset House._--The staircase of the handsome buildings erected for Somerset House originally set apart for the Exhibition of the Royal Academy, is ridiculed as a scene of unequivocal confusion. Whether the dangers of the somewhat steep ascent were actually as hazardous as the artist has depicted is open to question. It will be remembered that Sir William Chambers, the architect, whose masterpiece was decidedly Somerset House, was a member of the Royal Academy, and held the office of Treasurer to that body. It was somewhat the fashion of the wits to laugh at the architect, who, as a foreigner, had received an amount of royal patronage which created certain jealousies in the minds of his English rivals, who were less favoured with the smiles of princes. Chambers' extravagant conceptions, the various novel designs he published, and particularly his marked taste for so-called Oriental gardening and the introduction of buildings after the Chinese fashion, exposed the project to an ordeal of the severest criticism and sarcasm. George the Third employed Sir William Chambers to lay out and adorn the Royal gardens at Kew, when the eminent Swede took advantage of the occasion to carry out the taste he had acquired in China[24]--an indulgence which subjected the architect to numerous well-merited satires. The famous 'Heroic Epistle to Sir William Chambers' was provoked on this occasion.

Peter Pindar, according to his custom, found various faults with the new pile of buildings in the Strand, and their shortcomings were pointed out with his habitual archness.

The scene of disaster and tumultuous medley which Rowlandson has ventured to introduce as attendant incidents of the Royal Academy staircase must have assisted, in some degree, to make this portion of the building a laughing-stock with the more frivolous portion of the frequenters.

The Editor acknowledges the situation is treated with a licence which, perhaps, may be held to verge on the inadmissible. It has been sufficiently difficult, in selecting these illustrations, to keep within the restrictions marked out by modern decorum, too chaste to endorse the broad jocularity which passed current half a century back. The mirth imported into _Somerset House_ is not, however, of a licentious description; if the subject is treated with more freedom than is desirable, according to the juster ideas of our generation, at least its humours are innoxious and, we trust, guiltless of offence.

It is obvious that, in an instance like the present, the task becomes one of extreme delicacy; it is impossible to translate the caprices of the artist by any method short of the etching-needle; the mixed description of the spectacle and the spirit of the _contretemps_ defy a mere verbal rendering; and the caricature is too excellent in other respects to be passed over in the present collection, which professes to give a general view of the artist's cleverest and most familiarly known examples. While avoiding instances the morality of which is absolutely questionable, it is evident that it would be impossible to treat of the actual history, let alone the novels and caricatures of our forefathers, or to venture on the merest enquiry into their familiar life, abroad or at home, unless we put prudery a little on one side.

1811. _The Manager's Last Kick, or a New Way to Pay Old Debts._ Published by T. Tegg (117).--An episode in theatrical management is made the subject of the present caricature. As is well known, pecuniary complications were occasionally attendant evils of carrying on theatrical enterprises, especially some half a century ago. Sheridan's monetary difficulties were notorious, and although the holders of writs had recourse to expedients without end to serve the slippery manager of Drury Lane, it is just to add that 'Sherry's' ingenuity was frequently equal to the emergency. During a rehearsal at Drury Lane a Sheriff's officer by some subterfuge gained admittance to the stage, and presented the manager with his objectionable scrip of parchment. Sheridan was by no means disconcerted, but made the process-server at home, asking his advice on various points; and finally, as the story goes, having thrown the man off his guard, he induced him to mount to the front of the house to give his opinion on the sounding properties of the building. 'Can you hear me?' asked Sheridan. 'Perfectly,' replied the man. 'Then,' said Sheridan, 'you had better lose no time in coming down again, and catch me if you can, for I'm off!' And before the disconcerted bailiff could find his way back to the stage his charge had succeeded in making good his retreat.

In _The Manager's Last Kick, or a New Way to Pay Old Debts_, the same principle is involved; in this case, however, just as the _red tail_ writ is being served on the manager, a stage trap-door is suddenly let down, and the objectionable visitor is whisked off the scene. The wily lessee is bowing his fallen enemy out of sight with mock respect: 'Good morning, Mr. Catchpole; you'll find more of your tribe when you get to the bottom!'

_No Date._ (1811?). _Preparing to Start._ Published by T. Tegg (118).--There are jockeys within the ropes; the course is being cleared. The view is taken from the paddock opposite the grand stand. There are booths and tents for the sale of _real Stingo_, and horses are picketed on a hillside in the distance.

_No Date._ (1811?). _Preparing for the Race._ Published by T. Tegg.

1811 (?). _Awkward Squads Studying the Graces._ Published by T. Tegg (87). Woodward del., Rowlandson sculp.--Six stages, displaying the difficulties encountered by a French dancing master in labouring to instruct unconquerably clumsy and elderly pupils, who obviously possess no sort of aptitude for movement or grace.

1811. _Hiring a Servant._ Published by T. Tegg (124).--An elderly couple in a genteel station of life are seated at the breakfast-table; to them enters a simple country maiden, with a pretty and innocent face, her arms modestly folded, as an applicant for a place. 'What situation in my family would you wish to undertake, young woman?' enquires the lady of the house. 'Ma'am,' replies the unsophisticated maiden, 'I should like to be under your man-cook by way of improvement.' This _naïf_ remark is misconstrued, to the manifest delight of the fat _chef_, who is rolling about and rubbing his round sides with amusement.

1811 (?). _Anglers of 1611._ Designed by H. Bunbury, and etched by T. Rowlandson.--A pretty group, founded on the piscatorial pastoral of Izaak Walton. Venator is seated with his arm round the waist of the pretty milkmaid. Maudlin, her mother, a quaint old dame, is discoursing wisdom. Piscator is, with folded arms, leaning on his fishing-rod; at his feet are two fine trout. Peter is whipping a stream in the rear. The scenery is pretty, and the figures are neatly and expressively filled in. The design, which is by Bunbury, it is easy to recognise has gained considerable force from the spirited execution his contemporary has brought to bear on the etching. Companion to _Anglers of 1811_.

1811. _Anglers of 1811._ Designed by H. Bunbury, etched by T. Rowlandson.

1811. _Patience in a Punt._ Designed by H. Bunbury, etched by T. Rowlandson.

1811 (?). _A Templar at his Studies._ Published by T. Tegg.--The chambers of a fast member of the Bar; breakfast is on the table, and the apartment is in a litter of bottles, hunting-boots, guns, whips, law-books, briefs, papers, and general disorder. The student has evidently been to a masquerade overnight; portions of the dress of a Grand Turk are scattered about; moreover a lady is in his chambers, who is performing her toilette at a gilt mirror standing on his breakfast-table. The Templar, semi-clad, is sleepily trying to look through a bundle of briefs and law papers.

1811. _A Family Piece. (The Portrait Painter.)_ Designed by H. Bunbury, engraved by T. Rowlandson.

1811. _A Barber's Shop._ H. Bunbury del., Rowlandson sculp.--Two customers, already polished off, are putting on their cravats at the glass, and a stout old gentleman is in a shaving-chair having his hair dressed. A brace of dogs are quarrelling over a wig, which they are worrying like a rat and pulling different ways. A client is being lathered and is under operation, while a gentleman, who has been shaved, is wiping off the remains of the soapsuds. This design, one of the latest due to the hand of the gifted Henry Bunbury,[25] was also engraved on a larger scale by James Gillray: it was the last plate upon which he was able to work, and it proceeded but slowly, being touched in rare lucid intervals as his increasing madness permitted.

The etching, as executed by Gillray, bears the date 1811 in one corner, and to this is added the date of its deferred publication, May 15, 1818. The title given on the folio engraving is _Interior of a Barber's Shop in Assize Time_. The great caricaturist carried this plate, _the last work on copper by the hand of Gillray_, as notified upon the print, so far as his intermittent returns of reason would allow him. As Gillray died June 1, 1815, when the plate was evidently unfinished, this is probably one of the caricaturist's coppers which, as we have already related, were handed to George Cruikshank, another departed worthy, to complete. The unexpected death of the veteran has prevented the writer verifying this circumstance, although it is probably one of the plates--probably the most important as to size--which Cruikshank held in recollection when he informed the writer he considered that the most flattering testimonial which had been paid him in his long life was being selected, while a young man, to complete the engravings Gillray had left unfinished under the painful circumstances of his mental aberration, as already detailed. (See _The Works of James Gillray, the Caricaturist, with the Story of his Life and Times_, page 19, Introduction; and, further, the reduced engraving, from this plate (1811), page 370, the _Works_).

1811 (?). _Modern Antiques._--The cabinet of an antiquarian, richly filled with supposititious relics of the past. On a shelf is a row of Etruscan vases; bacchic masks and terminal gods are ranged on the walls; the chief features of the collection are a gathering of Egyptian deities and some magnificent sarcophagi. The satire, in some degree, seems to hint at Sir William Hamilton (then deceased) and the fair Emma.

An old antiquary, decrepit and bent, is peering at the shapely proportions of an Egyptian figure bearing a close resemblance to life. The chief incident of the picture is centred in a mummy's coffin, tenanted for the time, like a sentry-box, by a gallant young officer, who is embraced, behind the lid of his temporary resting-place, by a lady, who, like all the beauties designed by the artist, is represented of fine proportions and somewhat free graces. The _inamorata_ has thrown down a work which she has evidently studied to some purpose, _Loves of the Gods--embellished with cuts_, and she is taking the opportunity to make a practical application of her readings.

1811. _Munchausen at Walcheren._ Plates by Rowlandson.

1811. _Chesterfield Burlesqued._ Published by T. Tegg. 12mo. (See _Chesterfield Travestie_, 1808.)

FOOTNOTES:

[23] It was here, in this same Westminster pit, that the celebrated dog _Billy_ distinguished himself, and carried off the laurels of vermin-killing, by despatching a hundred rats at a time.

[24] In his early career Chambers had visited China. He performed the voyage as supercargo of some Swedish ships trading there.

[25] Bunbury died at Keswick, May 7, 1811, aged 61.

1812.

_January 10, 1812._ _A Portrait: Duke of Cumberland._ Published by H. Humphrey, 27 St. James's Street.--The Duke, with his spyglass, dressed in a blue coat with red facings (Windsor uniform); in the background is shown Kew Gardens, with the Pagoda House. The drawing from which this print was etched is entitled _Blood Royal_.

_January 10, 1812._ _A Portrait: Lord Petersham._ Published by H. Humphrey, 27 St James's Street.--St. James's Palace at the back of the subject.

_January 10, 1812._ _Wet under Foot._ Designed by an amateur. Published by H. Humphrey, 27 St. James's Street.--This small sketch represents a pouring wet day; a lady on pattens, holding an umbrella over her head, is endeavouring to pass the gutter without injury to her stockings. The point of view is supposed to be taken from the junction of Petticoat Lane with Smock Alley. Scavengers are shovelling mud into their carts; and the general downpour is further aggravated by denizens of the upper floors, who are discharging vessels over the soaked and dripping passengers below.

_February 26, 1812._ _A Portrait: Lord Pomfret._ Published by H. Humphrey, 27 St. James's Street.

_February 28, 1812._ _Plucking a Spooney._--A promising young 'spooney,' according to the artist's view, is entering on life's dangers--represented pictorially in three subjects which are hanging over the head of the victim: 'the fair sex--drinking--and gaming,' being the evils set down to avoid. The novice is evidently well advanced on the downward route, and has fallen among experienced professors of the plucking process. A gaily-dressed lady by his side, a 'decoy duck,' of captivating exterior, is beguiling the senses of the self-satisfied dupe with various familiarities; while a smug stout person, dressed like a parson, is discreetly keeping up the spirit of the affair by filling the glasses and manufacturing fresh supplies of punch, which the 'spooney' is imbibing freely and without regard to the consequences. A pile of gold and notes has been laid on the table by this very innocent pigeon, and opposite to him sits the crafty and accomplished 'rook'--a captain, from his 'keeping'--who, by a skilful manipulation of the cards, assisted by the carelessness of the simple young _roué_, bids fair to succeed in leaving the pigeon 'without a feather to fly with;' the plunder to be apportioned amongst the hopeful triumvirate in whose company the youth has the misfortune to find himself.

_March 1, 1812._ _Catching an Elephant._ Published by T. Tegg (146).--Two attractive and winsome damsels, standing outside a portal labelled 'Warm Baths,' have just succeeded in capturing an elderly colossus of a man, whose bulk should fairly entitle him to take his place amongst elephantine monsters; the expression of his senile features is designed to carry out the resemblance.

_March, 1812._ _Description of a Boxing Match between Ward and Quirk for 100 Guineas a side._ Published by T. Rowlandson, 1 James Street, Adelphi.

_March 2, 1812._ _Spanish Cloak._ Rowlandson del. Published by T. Tegg (39).--A superior officer, going his midnight rounds of the sentries posted on a line of fortifications, is amused at discovering the phenomenon of two pairs of legs below one cloak. A trooper has taken advantage of his ample garment to smuggle in a fair companion to share his vigils. The lady seems to enjoy her situation.

_March 20, 1812._ _Fast Day._ Published by T. Rowlandson, 1 James Street, Adelphi.--Four learned Doctors, dressed in their clerical vestments, are keeping in their own fashion a day set apart by the Church for general mortification. The portly four are seated at a well-furnished board, and trains of servants are, with respectful attention, bringing in fresh supplies--poultry, dainty meats, and other delicacies. The well-stocked collegiate cellars have been laid under contribution; bottles of choice vintage are standing in wine-coolers and in promising rows on the floor, beside a liberal jorum of punch in a _Bowl for a Bishop_. The nature of the private meditations of these epicurean worthies is thus made manifest, while the order of the repast is further set forth in a lengthy _bill of fare_ irreverently written on a _New Form of Prayer for the Fast Day_, by way of _menu_. The walls are suggestively hung with _Lists of the Great Tithes_ and such congenial paintings as _A Bench of Bishops_, represented regaling at a roystering banquet, _Susannah and the Elders_, _Brasenose College_, &c.

_March 25, 1812._ _Sea Stores._--A bevy of females consisting of a negress and other beauties from the purlieus of the port, 'waiting for Jack,' are sportively accosted by a dapper young midshipman who has been sent on shore to procure supplies for his ship, which is lying off. (Companion print to _Land Stores_.)

_March, 1812._ _Land Stores._--A dark beauty, of colossal proportions, is embraced by an officer whose figure is dwarfed by comparison with the monster negress. A placard posted on the walls of the fortification, where these extraordinary _Land Stores_ are supposed to be lodged, announces 'Voluntary subscription for a soldier's widow; the smallest donations will be gratefully received,' &c.

_April 2, 1812._ _The Chamber of Genius._ Published by T. Rowlandson, 1 James Street.

Want is the scorn of every wealthy fool, And genius in rags is turned to ridicule.--_Vide 'Satirist.'_

The apartment of an enthusiastic genius, whose ambitions seem to have taken various forms of expression. Music, painting, sculpture, literature, chemistry, and other arts and sciences seem to have occupied his attention by turns, and instruments suggestive of the respective pursuits are muddled up with domestic details incidental to the confinement of a wife and family to one solitary chamber, together with the utensils of cookery, besides the food itself. The genius has left his rest under the impulse of an inspiration; he has an old nightcap worn over his wig, and is still in his night-shirt, with down-at-heel slipper on one foot, and a ragged stocking on the other. He is seated, in an attitude expressive of sudden exaltation before an easel which bears the canvas he is filling out with rapid energy; his left hand grasps a pen, and a black cat in demanding attention has fixed her claws in his unclad limbs; but the artist is so absorbed in his subject as to be unconscious of pain; miscellaneous litter, a bust, a palette, and a sheaf of brushes, paint-pots, a still and furnace, books, scales, syringes, a fiddle, and a post horn are scattered behind the easel. The female companion of this genius is tranquilly sleeping in an easy attitude through all the confusion; on the table by the bedstead (on which her husband's garments are displayed) is a coffee-pot and some suggestions of breakfast; an unclad infant is leaning over the table, and pouring gin into a wineglass. Another semiclad child is seated on a tub before a blazing fire, amusing herself with the bellows, and is in danger from a steaming kettle and a red-hot poker. Food, knives, forks, plates, and a pewter quart-pot are at the artist's feet; he has just kicked over a large porringer of milk, and is heedless of the mischief. Lamps, caudle-boats, strings of candles, and bunches of onions are the decorations of the chimneypiece; ragged clothes and unmended stockings are hanging over a rope stretched across the chamber; on the wall is hung a smart three-cornered hat and a sword by the side of pictures of 'Aerostation' and the portraits of a ballet-dancer and 'Peter Tester.'

Rowlandson has put his own name to the print as the 'inventor;' the satire is very unsparing, and the squalor he has attributed to his professional brother is of the direst and most ludicrous description, but the figure of the painter is marked with vigorous characteristics, and the outline of the face which he has bestowed on his erratic genius, designedly or not, bears a suggestive resemblance to his own strongly-defined features.

_April 4, 1812._ _In the Dog Days._ Published by T. Rowlandson, 1 James Street, Adelphi.

Now the weather's sultry grown, Sweating late and early. Better far to lay alone-- Oh! we swelter rarely!

The representation of an extravagantly corpulent couple, whose rest is apparently fitful; the lines attached to the plate, which is not remarkable for refinement, form its best description.

_April 12, 1812._ _The Ducking Stool._ Republished. (See April 12, 1803.)

_May 30, 1812._ _Italian Picture Dealers Humbugging my Lord Anglaise._ Published by T. Rowlandson, 1 James Street, Adelphi.--'Milord' is a very dandified young sprig of nobility, who is an evident _macaroni_, with the ambition to shine as a man of taste. A 'foreign nobleman'--that is to say, according to English views at the period--a 'speculative Count,' who is very splendid in exterior, is evidently a confederate of his countryman, the _Italian picture dealer_, and has accompanied the noble incipient collector as a decoy to puff the wares, and if need be to offer fictitious sums in opposition to 'Milord' and spur his enthusiasm for the fine arts, which are respectably represented around, as far as good names go. A sensuous Magdalen, attributed to Guido, is exciting the admiration of the party and employing the wily dealer's eloquence. Around are supposititious examples of Rubens, Carracci, Titian, Teniers, Salvator Rosa, and other 'undoubted originals,' the major part of which in all probability owe their well-disguised paternity to the versatile 'Van Daub.'

_May 30, 1812._ _A Brace of Blackguards._ Published by T. Rowlandson, St. James Street, Adelphi.--It has been mentioned in respect to this eccentric production that the figures of the two gentlemen to whom this dubious compliment is rendered are intended to represent those of Rowlandson, the caricaturist, in the boxing attitude, and his friend George Morland, the painter, seated in the chair.

_June 4, 1812._ _Broad Grins, or a Black Joke._ Published by T. Tegg.--A clerical-looking gentleman is thrown into consternation at the interesting condition of a rustic female, who is standing beneath a board announcing 'Man-traps laid in these grounds.' The head of a black footman peering through a hole in the garden-wall indicates the true source of the 'Black Joke.'

_July 14, 1812._ _Miseries of London. Watermen. Oars? Sculls?_ Published by T. Rowlandson, 1 James Street, Adelphi.--Entering upon any of the bridges of London or any of the passages leading to the Thames, being assailed by a group of watermen, holding up their hands and bawling out 'Oars? Sculls, sculls? Oars, oars?'

1812 (?). _Racing._ Published by T. Tegg (158).

_July 14, 1812_ (?). _Glow Worms._ (See 1805.) Published by T. Rowlandson, 1 St. James Street, Adelphi.

_July 14, 1812_ (?). _Muck Worms._ (See 1800.)

_July 14, 1812_ (?). _The Rivals._

_July 15, 1812._ _A Seaman's Wife's Reckoning._ Published by T. Tegg (275), Woodward delin., Rowlandson sculp.--An old salt, with his dog at his elbow, is seated beside his blooming daughter-in-law, a pretty young mother, dandling a fine infant; the lady is using her eloquence and trying to flatter this obdurate relative into confidence in her story. The experienced mariner is declaring, 'Why, d'ye see, I am an old seaman, and not easily imposed upon. I say that can't be my son Jack's child. Why, he has not been married but three months, and during that time he has been at sea--the thing is impossible! You may as well tell me that my ship Nancy goes nine knots an hour in a dead calm. And now I look again it's the very picture of Peter Wilkins, the soap-boiler.'

The fair object of suspicion is by no means confounded at this logical deduction. 'My dear father-in-law, I'll make it out very easily--Jack has been married to me three months,--very well,--I have been with child three months,--which makes _six_,--then he has been at sea three months, has not he?--and that just makes up the _nine_!'

The fortunate husband, who sports a new rig-out--with a bright bandanna round his neck, and his pipe stuck in the band of his hat--is lurching into the apartment with a sea-roll. He is quite satisfied with his wife's arithmetic, and is arguing on the side of his tender partner: 'Father, father, don't be too hard upon Poll; I know something about the logbook myself, and dash me but she has kept her reckoning like a true seaman's wife!'

_July 15, 1812._ _The Secret History of Crim Con._ Plate 1. Published by T. Tegg (161).

_July 15, 1812._ _The Secret History of Crim Con._ Plate 2. Published by T. Tegg (161).

_August 29, 1812._ _Setting out for Margate._ Woodward del., Rowlandson sculp. Published by T. Tegg (166).--A stout citizen, smartly clad, with his wife, whose apparel is still more festive, are setting out upon a holiday excursion. The heads of two geese are hanging over the coat-tails of the cockney traveller: 'Why, my dove, I am loaded with provisions, like a tilt-cart on a fair-day, and my pockets stick out just as if I was just returned from a City feast.' The correct partner of his joys is responding, 'Don't be so _wulgar_, Mr. Dripping; you are now going among genteel folks, and must behave yourself. We shall want all the _wickalls_ on the _woyage_, depend upon it. Bless me, how _varm_ it is! I am all over in a muck!' To them enters their foreman: 'An' please you, master and missis, the sailor-man has sent word as how the _wessel_ is ready to swim!'

_August 30, 1812._ _The Sweet Pea._ Published by H. Humphrey, 27 St. James's Street.

_October 1, 1812._ _Refinement of Language._ Woodward del., Rowlandson sculp. Published by T. Tegg (171).--Six subjects, illustrating the results of the advance of genteel ideas and the introduction of a new-fashioned system of refining on everything. A ragged match-seller is elevated into a 'timber merchant.' A postman becomes a 'man of letters.' A gardener is raised to a 'Master of the Mint.' A Jew hawker, who cries, 'Any old clothes to shell?' is changed to a 'merchant tailor.' A sexton, pressing down the mould on a grave, is translated into 'a banker;' and a poulterer easily becomes a 'Turkey merchant.'

1812. _Bitter Fare, or Sweeps Regaling._--As in the preceding caricature the date of this plate has been altered; it was probably published in 1802, and re-issued later, a common occurrence with Rowlandson's prints. _Bitter Fare, or Sweeps Regaling_, was, it seems likely, designed as a companion to _Love and Dust_ (1792, &c.), and it partakes of the same ragged inspiration. In the hovel tenanted by the somewhat undesirable 'Chummey family' smoke is the prevalent element; the sooty company, sufficiently black and begrimed in their own persons, seem perfectly in their element before a smoking fireplace--as they are reposing luxuriously on sacks of soot. The heads of the family are amiably sharing their enjoyments, drinking beer from a pewter measure, and smoking long clay pipes; the sweeper lads, but for a coat of soot comparatively unclad, are revelling amidst the cinders on the hearth, divided between the congenial relaxations of eating porridge and tormenting an unfortunate cat. Brushes, shovels, and the professional belongings of chimney-sweeping are scattered about; the only article of fancy admitted into the establishment is a blackbird, which is possibly present on the ground that its hue offers a resemblance to the general complexion.

_October 12, 1812._ _Raising the Wind._ Published by T. Rowlandson, 1 James Street, Adelphi.

When noblemen have lost racehorse, and all their rhino spent, Then little Isaac draws the bond and lends for cent. per cent.

Rowlandson's print introduces the nobleman at the precise moment his affairs need 'patching up,' for 'mended' he never can be after he has put himself into the spider-like clutches of plausible Isaac and his 'friend in the City.' The 'little Jew broker' has brought a rich usurer of his tribe, and between them his lordship's career of folly will be swiftly run. All the ready-money is gone, and the racing stud has followed it; but the 'road to ruin' is only just opening up. The spendthrift is a comparative beginner; the next step is raising money on his _title deeds_, which are undergoing inspection under the vulture-like eye of the scrivener, who, it appears, lends money on good security and traffics in annuities and jointures.

The borrower is evidently accustomed to take life easily, he is putting himself into the claws of the Israelites, and is otherwise 'going to the bad' with perfect good humour and in a sociable frame of mind, not unlike the way of proceeding practised by the heroes of Sheridan's comedies; indeed, there is a great deal of the _Charles Surface_ element in the composition.

The pictures which fill young Hopeful's walls tell his story after the Hogarthian method. There are portraits of the relatives who have left their savings and estates to the present careless holder: Sir Matthew Mite, a miser; Lady Crane; and Sir Peter Plumb--all persons of a 'warm' disposition as to wealth. There is a 'view of the Yorkshire estate;' then there is 'The Prodigal Son,' which may be held to apply to the heir, whose ways of making the money fly are further illustrated by such pictures as a 'Hazard Table,' 'A game fighting-cock,' a racehorse, 'Sancho,' on the course; and a blood mare, 'Diana,' and foal; the breeding and running of racehorses being considered then, as now, among the most expeditious routes to insolvency.

_November 30, 1812._ _Christmas Gambols._ Published by T. Rowlandson, 1 James Street, Adelphi.--The festivities represented, which partake of the free and frolicsome description, are taking place in the servants' hall. Full drinking has been the order of the evening; the master's cellar and the servants' heads have both been lightened simultaneously, and the results are displaying themselves under the mistletoe and in horseplay. A footman and a parlour-maid are rolling over one another indiscriminately on the hearthrug amidst the fragments of crockery demolished in their downfall. A sturdy black footman is lifting a fat wench in his arms for a chaste salute. Practical joking is the order of the evening; the fat cook has been toppled back in her armchair, and is vainly flourishing her basting-ladle to drive off her assailant, while her feet are in the air; and the butler, as author of the mischief, is making the best use of his opportunities, while another couple are exchanging kisses with evident goodwill.

1812. _The Successful Fortune-hunter (Bath Crescent), or Captain Shelalee leading Miss Marrowfat to the Temple of Hymen._--In the distance are indicated the regular frequenters of Bath, sufferers from gout on crutches, and invalids in wheeled-chairs. A dashing Irish adventurer, one of the bold fortune-hunters--notorieties from the Sister Isle in Rowlandson's day--is leading captive the wealth and person of a somewhat vulgar and stumpy heiress, whose figure is loaded with jewellery fashioned on a scale of oppressive magnitude.

1812. _Hackney Assembly. 'The Graces, the Graces, remember the Graces!'_ From erasures in the date of this plate it seems probable that it was originally issued ten years earlier. As the title indicates, this sketch is a broad burlesque of the deportment displayed by the frequenters of a suburban ball-room. The awkward and ungainly carriage of all the figures is amusingly exaggerated. A master of the ceremonies, the expression of whose features is complicated by a decided squint, is briskly performing the rites of his office and introducing a cobby little gentleman as a partner to an angular and misshapen spinster, who, in consulting _the graces_, has thrown her Gothic frame into an absurdly constrained and affected posture.

1812. _The Learned Scotchman, or Magistrate's Mistake._ Woodward del., Rowlandson sculp. Published by T. Tegg (150).--A Scotchman is led before a country justice, charged with drunkenness; the magistrate's wife is seated by the side of her lord, and is much shocked at the learned Caledonian's defence; bowing low, bonnet in hand, the Scot is throwing himself on the clemency of the court: 'I own, your honour, I was a little inebriated, but your worship knows _Nemo mortalium omnibus hooris saupit_.' 'What's that you say, fellow,' retorts the magistrate, 'about a sawpit?--a very improper place to go with such company. I wonder you are not ashamed to mention such a thing, and before my wife too. But, however, as it is your first offence, I will discharge you this time; but never come here with such a story again!'

1812 (?). _Preaching to some Purpose._--An open-air meeting of rustic worshippers. Great astonishment is pictured on the upturned faces of the expectant congregation. The preacher is raised on an extemporised pulpit; he is clad in black, but in the rear of his nether garment appears a formidable rent, which his hand is not sufficiently broad to conceal. He is earnestly addressing his perplexed hearers to the following purpose: 'Dearly beloved, before I begin my discourse, I have three things to inform you of. The first thing I know, and you do not know. The next thing you know, and I do not know,--and the third thing none of us know, viz., in my way here to preach, crossing Farmer Hobson's stile, I tore my breeches,--the extent of the rent I know, and you do not know. Secondly, what you are willing to subscribe to get them repaired you know, and I do not know. And lastly, what Tim Snip, the tailor, will charge for the job, _that none of us know_!'

1812 (?). _New Invented Elastic Breeches._ H. Nixon invt., T. Rowlandson sculp.--Two tailors are using considerable manual force trying to pull a customer into a pair of close-spring breeches. The scene is taking place on the premises of the inventor and manufacturer of the patent articles in question.

_No date._ 1812 (?). _A Visit to the Doctor._ Woodward del., Rowlandson fecit. Published by T. Tegg.--The consulting-room of a learned physician; an imposing bookcase fills the background. The doctor's man has just shown up a comfortable-looking couple, who have called for the benefit of the physician's advice--the practitioner is one of the old school--full-bottomed wig, powder, and pigtail, a learnedly long-skirted square-cut suit, lace frill and ruffles, huge spectacles, and a professional gold-headed cane held up to the nose; he is standing on the hearthrug, warming his learned back at the fireplace; above the mantelpiece is a bust of Galen. The patients, who are evidently robust country folks, thus set forth their case:--'Do you see, Doctor, my dame and I be come to ax your advice--we both of us eat well, and drink well, and sleep well,--yet still we be somehow queerish!' The Doctor is equal to the emergency and prepared to alter all this promptly. 'You eat well, you drink well, and you sleep well,--very good. You were perfectly right in coming to me, for depend upon it I will give you something that shall do away with all these things!'

1812 (?). _Puff Paste._--A fat cook is rolling out pudding paste; around her board are spread _codling tarts, apple dumplings, and batter puddings_; a footman is embracing her ample shoulders, and familiarly patting her under the chin.

1812. _Mock Turtle_ pictures a pair of elderly suitors cooing over a bowl of mock turtle soup; a pair of real turtledoves, perched on a branch, are introduced to carry out the allusion.

1812. _Off She Goes._ Rowlandson fecit. Published by T. Tegg.--An elopement unexpectedly accelerated. A rope-ladder has enabled a stout abductor to assist the flight of a somewhat mature and remarkably corpulent lady from the window of her chamber. A rung of the rope-ladder has given way with the weight; at the moment a male relation, nightcap on head, is discovering the flight and throwing a light on the subject with a chamber candle which he is holding out of the bedroom window. The partner of the elopement is an officer; he is precipitated on to his back, and forms a convenient cushion to receive the lady's fall, which is complete and overwhelming. A postchaise, prepared for the flight, is seen in the distance; the postilion is enjoying the spectacle of his employer's downfall; and the moon, peeping over a cloud, is represented with a broad grin on its face at the expense of these disconcerted 'fly-by-nights.'

1812. _English Exhibitions in Paris, or French People astonished at our improvements in the Breed of Fat Cattle._

1812. _A Cat in Pattens._ Rowlandson invt.--Though thoroughly in Rowlandson's characteristic manner the scene is somewhat suggestive of Hogarth's plate of 'Morning,' 'Times of the Day,' in which the portrait of Miss Bridget Allworthy is exhibited, the introduction of whose burlesqued resemblance is said to have cost the painter the loss of a legacy. An old maid whose countenance certainly bears a close resemblance to that of a cat, is shuffling along in the breeze on pattens; she has a boa and an enormous muff; before her trots a French poodle, clipped fantastically to resemble a parody of a lion; behind her shivers a black page, in a tight gaudy uniform; under his arm is his mistress's umbrella, and he holds before him a bundle of cat's meat. A half-naked and ruffianly beggar is trying to excite the benevolence of this shrewish _Cat in Pattens_.

* * * * *

PETTICOAT LOOSE.

_A FRAGMENTARY TALE OF THE CASTLE._

WITH FOUR PLATES ETCHED BY ROWLANDSON.

London: J. J. Stockdale, 41 Pall Mall, Feb. 12, 1812. 4to.

The argument upon which the story is founded is set forth in the following 'advertisement':--

_'Dublin Castle. The Adventure of the Under Petticoat at the Castle Drawing Room. "Honi soit qui mal y pense."_ All the world has been amused with the singular disaster that befel a lady on Thursday night last at the _Viceregal Palace_, by the loss of her under petticoat, which, from the pressure of the crowd, unfortunately slipped down through the capacious encumbrance of her hoop, and was soon trampled on the floor--though likely to become as renowned as Penelope's web: for the lady to whom it belonged lost by night the comfort and protection that was her security by day. One of the young pages (who are always peeping and bustling on such occasions) first made the discovery. The trophy was soon displayed in order to find out the fair owner; which, however, still remains a secret, except to the person immediately concerned. But, like the shield of Achilles, the little petticoat soon became the subject of admiration and contention.

'At the first impression the master of the ceremonies claimed the prize, as his official perquisite, alleging it was dropped in the _Presence Chamber_. But the Chamberlain insisted the drawing-room was his _champ d'or_, and every windfall on such occasions his exclusive property. That as a true knight he must take up the gauntlet thus thrown down by a lady.

'The household troops, particularly the young _aides-de-camp_, struggled through the crowd to see the cause of such bustle; and having satisfied their curiosity, whispered one another, and, in their usual way, set up a great titter. The chaplain in waiting had his eye upon the petticoat, and said he thought in decorum it ought to be deposited among the _new antiquities_ in Bedford Chapel.

'The Duke, with his usual good humour, liberality, and regard for the fair creation, decided the contest by saying that it should be suspended as a banner round the temple of love and beauty; and that as Edward the Third constituted the Order of the Garter from a similar accident at the British Court, he would solicit the Prince Regent, in the true spirit of chivalry, to establish and become _Sovereign of the Order of the Petticoat_ in Ireland, in commemoration of the pleasant adventure,' &c.

Plate 1. _Capture of the Petticoat._ February 12, 1812.

Plate 2. _Breakfast Room at an Inn._ February 12, 1812.

Plate 3. _College Green before the Union._ February 12, 1812.--A scene of state, bustle, and prosperity.

Plate 4. _College Green after the Union._ February 12, 1812.--Shabbiness, poverty, and beggary have sole possession of the scene.

* * * * *

VIEWS IN CORNWALL.

_April 10, 1812._ _View of a Farm House at Hengar, Cornwall._ Published by T. Rowlandson.

_April 12, 1812._ _Cottage at the Foot of Router Mountain, Cornwall._ Published by T. Rowlandson.

1812. _Cornwall. An Overlooker._

1812. _A Cornish Waterfall._

1812. _A Watercourse._

_April 12, 1812._ _View of the River Camel, Cornwall._ Published by T. Rowlandson.

1812. _Near Helston, Cornwall._

_April 12, 1812._ _Cottage near the Devil's Jump, in the Duchy of Cornwall._ Published by T. Rowlandson.

1812. _View of the Church and Village of St. Cue, Cornwall._ Published by Ackermann.

_April 12, 1812._ _View of Liskeard, Cornwall._ Published by T. Rowlandson.

1812. _The Lion Rock, Cornwall._

1812. _A Cornish Road._

1812. _A Hill Side, Cornwall._

1812. _A Cornish View._

TOUR OF DOCTOR SYNTAX IN SEARCH OF THE PICTURESQUE.

In 1812 the poem and illustrations of _The Tour of Doctor Syntax in Search of the Picturesque_ were issued as an independent volume, when the success with which it was received was more decidedly marked than when it first appeared in the _Poetical Magazine_ under the title of _The Schoolmaster's Tour_. Five editions were issued between 1812 and 1813.

The work was described as _The Tour of Doctor Syntax in Search of the Picturesque_. A Poem. With new plates.

The old subjects, it appears, were re-engraved by Rowlandson's hand, with but slight variations from the originals. The outlines are somewhat less bold, and three new subjects are added; one being the frontispiece, which represents the worthy Doctor at his desk, seated in his armchair, in deep cogitation, touching his forehead as the idea of his famous _Picturesque Tour_ suggests itself to his brain. The window of his study is opened, that he may contemplate the exterior prospect at his ease, while a sketch, by his own hand, in India-ink, is displayed before him. Various papers and books are scattered about, with sundry objects which indicate his versatile accomplishments--a fiddle hung on the wall, books of travel, sheets of the Doctor's original treatise--_Every Man his own Farrier_--with a goodly jar of _cherry bounce_ to rejoice the learned man's spirits.

On the titlepage is engraved a quaint vignette of architectural relics, ruins, a castle, &c., the detached monuments being disposed so as to form the word _Picturesque_.

The third addition is plate 27, in the body of the Tour, introducing _The Doctor's Dream_ (in his patron's library) _of the Battle of the Books_, which was not included in the work on its original publication.

This edition is preceded by an Introduction, which in some degree explains the relative positions--as far as the preparation of the work was concerned--of the artist and William Combe, the author, who thus sets the matter before his public: 'The following poem, if it may be allowed to deserve the name, was written under circumstances whose peculiarity may be thought to justify a communication of them. I undertook to give metrical illustrations of the prints with which Mr. Ackermann decorated the _Poetical Magazine_, a work published by him in monthly numbers, for the reception of original compositions. Many of these engravings were miscellaneous, and those (which were, indeed, the far greater part of them) whose description was submitted to such a muse as mine represented views of interesting objects and beautiful scenery, or were occasional decorations appropriate to the work. Those designs, to which this volume is so greatly indebted, I was informed, would follow in a _series_, and it was proposed to me to shape out a story from them. An etching, or a drawing, was accordingly sent to me every month, and I composed a certain proportion of verse, in which, of course, the subject of the design was included; the rest depended on what my imagination could furnish. When the first print was sent to me I did not know what would be the subject of the second; and in this manner, in a great measure, the artist continued designing, and I continued writing, every month for two years, till a work containing near ten thousand lines was produced; the artist and the writer having no personal communication with or knowledge of each other....

'Mr. Ackermann has his reasons for risking a republication of it in its present form; and I now feel more than common solicitude that it should answer his expectations.... _The Battle of the Books_ was an after-thought, and forms the novelty of this volume.

Liberius si Dixero quid, si forte jocosius; hoc mihi juris, Cum veniâ dabis.--HOR. _S._ lib. i. v. 103.

'I have only to add, that though, on a first view of some of the prints, it may appear as if the clerical character were treated with levity, I am confident in announcing a very opposite impression from a perusal of the work.'

The origin of _Doctor Syntax_ is ascribed, with characteristic partiality, to John Bannister, the comedian, by his biographer, John Adolphus.

'Of another graphic series, which owed its existence almost entirely to the invention of Bannister, I have the following account:--Dining at a tavern, with him and a third person, Rowlandson was asked, "What are you about, Rolly?" "Why, nothing in particular," he said. "I think my inventive faculty has been very sluggish of late; I wish one of you would give me a hint." Being asked of what kind, he answered, "I feel in a humour to sketch a series where the object may be made ridiculous without much thinking. I have been making a tour in Cornwall and Devonshire with a friend, who, as I have made sketches on the coast for him, wishes me to introduce adventures at inns, and other comic incidents, in which he was the principal party. But what can I do for such a hero?--a walking turtle--a gentleman weighing four-and-twenty stone--for such scenes he is quite out of the question. I want one of a totally different description." And he named a celebrated tourist, who by a recent publication had given much celebrity to the Lakes.

'"I have it!" said Bannister. "You must fancy a skin-and-bone hero, a pedantic old prig, in a shovel-hat, with a pony, sketching-stools, and rattletraps, and place him in such scrapes as travellers frequently meet with--hedge alehouses, second and third rate inns, thieves, gibbets, mad bulls, and the like. Come!" he proceeded, warming with the subject, "give us a sheet of paper, and we'll strike out a few hints." The paper was produced, Bannister gave his ideas, Rowlandson adopted them, Combe explained them in a well-written poem; and to this conversation and to the lively invention of Bannister the public is indebted for a highly favoured publication, _The Tour of Doctor Syntax_.'

It is by no means improbable that Bannister's suggestion had something to do with the eccentric personality of the hero of the _Picturesque Tours_; but the author of the _Memoir of John Bannister_ assumes too much when he records that the ideas for the adventures of Doctor Syntax were struck out at a sitting and in the easy fashion he has described; it is known that the original designs were furnished at the rate of three a month, and that their invention was spread over the entire period of the publication.

The popularity enjoyed by this Tour was manifested in the number of editions sold; it was further pirated and imitated in various forms. A German edition was published in Berlin in 1822; the poem was translated under the title of _Die Reise des Doktor Syntax um das Malerische aufzusuchen. Ein Gedicht frei aus dem Englischen ins Deutsche übertragen. Lithogr. v. F. E. Rademacher._ The illustrations were copied in outline on stone, either with a fine point or a pen; the lines are wire-like and give neither fullness nor effect; the pictures are also coloured in a feeble and powerless style, and the whole is a very poor rendering, as far as the artist's work is concerned.

A French edition, freely translated by M. Gandais, appeared in Paris, with twenty-six engravings--rendered with considerable ability by Malapeau (lith. de G. Engelmann)--drawn on stone with care and spirit in lithographic chalk; these illustrations, printed in a warm tint, and coloured by hand, will compare fairly with even Rowlandson's original etchings. We give the title of this edition:--_Le Don Quichotte Romantique, ou Voyage du Docteur Syntaxe à la recherche du Pittoresque et du Romantique; Poême en XX chants, traduit librement de l'Anglais par M. Gandais, et orné de 26 gravures par Malapeau. À Paris chez l'auteur, rue du Faubourg Saint Denis 45, et Pélicier libraire, cour du Palais Royal._ 1821. The author's advertisement, as written by Combe, is carefully and literally rendered, and the translator has added a slight _avertissement_ of his own, briefly alluding to the reputation enjoyed in England by the original engravings and the descriptive verses which accompany them, and setting forth the circumstances of his own version, &c.

Numerous imitations, less legitimate than the foreign translations alluded to, also appeared in this country, such as _The Tour of Doctor Syntax through London_; _Doctor Syntax in Paris, in Search of the Grotesque_; _Doctor Prosody_; _Sentimental Tour through Margate and Hastings by Doctor Comparative, Junr._; and _Doctor Syntax's Life of Napoleon_, which is possibly due to Combe's pen, and derives a strong additional interest from the illustrations, which are fair examples of George Cruikshank's handiwork. A parody, in verse, entitled _The Adventures of Doctor Comicus, by a modern Syntax_, was also issued, with coloured imitations of Rowlandson's designs.

The success which had attended the first _Tour of Doctor Syntax_ was so flattering and remunerative that the publisher and his able collaborateurs, the artist and author, projected a second series, entitled _Doctor Syntax in Search of Consolation_--for the loss of that termagant spouse who figures in the original _Tour_, and is decently buried, in the first cantos of the new adventures, to give the hero a fitting cause for pursuing his eccentric travels. The renewal of Dr. Syntax's journeys, which appeared in monthly parts, was completed in 1820, when it was republished by Mr. Ackermann, uniform with the first volume; it was less successful than its predecessor, but it ran through several editions.

The plates, which were contributed by Rowlandson, much on his old principle, were as follows:--

Frontispiece.--Doctor Syntax and his Counterpart. Doctor Syntax lamenting the loss of his Wife. " " at the Funeral of his Wife. " " setting out on his Second Tour. " " and the Gypsies. " " loses his Wig. The visit of Doctor Syntax to Widow Hopeful, at York. Doctor Syntax amused with Pat in the Pond. " " in the Glass House. " " visits Eaton Hall, Cheshire. " " making his Will. " " in a Court of Justice. " " present at a Coffee-house Quarrel at Bath. " " and the superannuated Fox-hunter. " " with the Skimmington Riders. " " and the Bees. " " visits a Boarding School for Young Ladies. " " making a Discovery. " " Painting a Portrait. " " Marriage of Doctor Dicky Bend. " " at an Auction. " " and the Bookseller. " " at Freemasons' Hall. Miss Worthy's Marriage--Doctor Syntax in the chair.

A third and final Tour, ending with the hero's funeral, concludes the poem. The last volume, which had appeared, like its predecessors, in monthly parts, was put forth in its collected form in 1821; and, similar to the first and second series, with which it was afterwards re-issued, it received sufficient patronage to carry it through several editions, although neither the Second nor Third Tours were reckoned so successful as the original series.

The _Third Tour of Doctor Syntax--in Search of a Wife_ appeared with the following 'Preface,' from the pen of the veteran Combe, who, for his private reasons, preferred to continue anonymous throughout.

'This prolonged work is, at length, brought to a close. It has grown to this size under rare and continuing marks of public favour; while the same mode of composition has been employed in the last as in the former volumes. They are all equally indebted to Mr. Rowlandson's talents.

'It may, perhaps, be considered as presumptuous in me, and at my age, to sport even with my own dowdy Muse, but, from the extensive patronage which Doctor Syntax has received, it may be presumed that, more or less, he has continued to amuse: And I, surely, have no reason to be dissatisfied, when Time points at my eightieth year, that I can still afford some pleasure to those who are disposed to be pleased.

'THE AUTHOR.'

The illustrations to the third volume, which are quite equal both in spirit, invention, and execution to those designs which suggested the framework of the first and second Tours, are as follows:--

Frontispiece.--Doctor Syntax setting out in search of a Wife. Vignette, on Titlepage.--Doctor Syntax assisting at an Instrumental Trio. Doctor Syntax Soliloquising. " " turned Nurse. The Banns forbidden. Doctor Syntax with a Blue Stocking Beauty. The Cellar Quartetto. Doctor Syntax Presenting a Floral Offering. The Billiard Table. Misfortune at Tulip Hall. The Harvest Home. The Garden Trio. Doctor Syntax at a Card Party. " " Star-gazing. " " in the wrong Lodging-House. " " received by the Maid instead of the Mistress. The Artist's Room. Death of Punch. The Advertisement for a Wife. Doctor Syntax and the Foundling. The result of Purchasing a Blind Horse. A Noble Hunting Party. Introduction to Courtship. Doctor Syntax in Danger. The Funeral of Doctor Syntax.

The popularity which attended the three Tours in the form of their original publication induced Mr. Ackermann to issue a fresh edition in 1823. The three volumes were printed in 16mo, instead of royal 8vo, and the plates were re-engraved, one-third of the original size. This pocket edition, containing all the illustrations, in a reduced form, was published at the moderate price, considering the plates were coloured by hand, of seven shillings a volume; the former series having been produced at one guinea per volume.

1813.

_February 10, 1813._ _Bachelor's Fare--Bread and Cheese and Kisses._ Published by T. Tegg (285).

_September 1, 1813._ _Summer Amusements at Margate, or a Peep at the Mermaids._ Published by T. Tegg.

_September 1, 1813._ _The Last Gasp, or Toadstools Mistaken for Mushrooms._ Published by T. Tegg (210).--A physician has been called in, and, with his gold stick in hand, is examining the condition of certain patients who are suffering from the effects of too indiscriminate feeding. A gouty old gentleman, his wife, and their footman are all putting out their tongues--which are white and swollen to an inordinate length; their features express the greatest alarm, and the look of consternation which is thrown into the doctor's face conveys the reverse of comforting reassurance to the unfortunate gourmands.

_September 20, 1813._ _Humours of Houndsditch, or Mrs. Shevi in a longing condition._ Published by T. Tegg (213).--A member of the Hebrew tribe, who carries a bag slung on his arm, is bearing forbidden luxuries to two fair representatives of his race. A couple of Jewesses, whose persons are resplendent in jewellery, are leaning over the wicket-gate of their premises, lost in admiration at the spectacle of a little stranger--a sucking-pig--which the tempter, who has led the maternal sow and entire porcine family astray, is holding out for Mrs. Shevi--a sufficiently motherly-looking lady--to salute with a kiss. Another Hebrew gentleman, who is overlooking this transaction, has his face thrown into horrified contortions and his hair standing on end at making the discovery of this incredible depravity.

The secret of how the interdicted quadrupeds have come into the possession of the Jew clothesman is explained by a handbill advertising: 'Lost, supposed to have been stolen, a sow and seven pigs. A reward of five pounds is promised for information of the whereabouts of the wanderers.'

1813. _Unloading a Waggon._ Published by T. Tegg (214).

1813. _None but the Brave deserve the Fair._ Published by T. Tegg (231).--A gallant huzzar has ridden his charger through a pond which is supposed to isolate the walls of a park and mansion, from the security of which a damsel, 'all in white,' of redundant personal charms, is being helped to elope over the ivy-grown wall by the dashing horseman, to whose custody the lady is unreservedly entrusting the keeping of her fair person.

_September 20, 1813._ _A Doleful Disaster, or Miss Fubby Tatarmin's Wig caught Fire._ (Vide _Bath Guide_.)--A stout lady is in all the consternation of a blazing head of hair; the enormous superstructure piled on her head has caught fire at the top from the sconces on the mantel; her armchair is kicked over, and the whole of her household are making a desperate rush on to the scene of the conflagration; the footman has dragged the tablecloth from beneath the tea equipage, which has fallen to destruction, and is endeavouring to envelope the headdress of his mistress in the folds; a black page is discharging a flowerpot of water in the face of the distressed lady; female servants are flinging up their arms and screaming; and, in the rear, the elder servants are hurrying up in great distress.

But Madge at the Rooms Must beware of her plumes; For if Vulcan her feather embraces, Like poor Lady Laycock, She'll burn like a haycock, And roast all the Loves and the Graces. ANSTEY'S _Bath Guide_.

_November 5, 1813._ _The Two Kings of Terror. Copy of the transparency exhibited at Ackermann's Repository of Arts during the Illuminations of the 5th and 6th November, 1813, in honour of the splendid victories obtained by the Allies over the armies of France, at Leipzic and its environs._--'This subject, representing the two tyrants--viz., the tyrant Buonaparte and the tyrant Death--sitting together on the field of battle, in a manner which promises a more perfect intimacy immediately to ensue, is very entertaining. It is also instructive to observe that the former is now placed in a situation in which all Europe _may see through him_. The emblem, too, of the circle of dazzling light from mere _vapour_, which is so _soon extinguished_, has a good moral effect; and as the gas represents the dying flame, so does the drum, on which he is seated, typify the hollow and noisy nature of the falling usurper.'

The above description of the subject appeared in the _Sun_ of Saturday, November 6, 1813. These printed comments arose from the picture itself having been transparent, and from a circle which surmounted the same, indicative of the strength and brotherly union of the Allies, composed of gas of brilliant brightness. (See January 1, 1814.)

_November 22, 1813._ _The Norwich Bull Feast, or Glory and Gluttony._ Published by T. Tegg (232).--The success gained by the allied armies over Napoleon and his forces, and the series of French disasters which had culminated at Leipzig, gave rise to rejoicings all over the country, in celebration of the supposed final downfall of the Corsican Emperor, the traditional enemy of England, as the people had been taught to consider him. Norwich, according to the print, is the scene of disorderly revelry. A huge bullock has been roasted whole in the market-place, and the carcase is being cut up and distributed in the streets; the unruly mob fighting over the morsels and wrenching the bones from those who are ravenously picking them; scuffles, struggles, scrimmages, and savage onslaughts are the order of the day. At the same time a puncheon of beer or spirits is broached for gratuitous distribution, and a pretty spectacle of misrule is the consequence. The fair sex are represented as the chief competitors for the drink; pails, cans, and jugs are eagerly filled, and as greedily emptied; the contents being poured down the throats of the holders or down those of their friends, who are opening their mouths to receive the liquor, which is gushing forth in streams. The incidents surrounding the liquor-cart are, if possible, more disreputable and degrading than those transpiring on all sides of the trestles on which the ox is being dismembered by a pair of butcher's men, armed with a chopper and a huge carver. Some of the female patriots are reduced to insensibility, and efforts are being made to revive one poor creature, who is lying unconscious in the midst of the struggling mass, either overpowered by the potency of the drink or smothered by the pressure; buckets of the fluid are being emptied over the prostrate sufferer by tipsy Samaritans, without alleviating her condition.

The town of Norwich is given up to the gala; flags are flying, and illuminations and fireworks render the sight more animated. A tumultuous procession is struggling along, bearing guns, pikes, &c., and carrying the effigy of Buonaparte to be gibbeted or burnt at a bonfire. Flags head the mob, inscribed _Downfall of the Tyrant_; _Peace and Plenty_, &c.

_November 25, 1813._ _A Long Pull, a Strong Pull, and a Pull All together._ Published by T. Tegg (233).--The end of 1813 promised to witness the downfall of the great 'little Boney;' one misfortune followed another; ally after ally abandoned the conqueror, who in the hour of victory had behaved magnanimously to the subjugated States, and they in return deserted their new friend when disasters were pressing on him--a sure proof of the danger of confiding in alliances extracted at the point of the sword or made in bad faith on grounds of desperate expediency. As we have seen, the blow came from the North: the treachery of Bernadotte, King of Sweden, a man who owed his elevation to the Emperor, pointed the way to prostrate Europe to free herself from the ambitious thraldom of Napoleon; the Russian Bear broke his false slumbers, the Austrian and Prussian Eagles escaped from their chains, Spain was cleared of the invaders, and lastly the Kingdom of Holland revolted in the rear of the disabled Corsican. The king, Napoleon's brother, Louis, whom he had imposed on this kingdom, had voluntarily abdicated the crown in favour of his son, a minor, in 1810. The subject is treated allegorically by Rowlandson. _The Sun of Tyranny_ is setting on the deep; the fleets of the allies are riding on the seas, which are once more free, and the Dutch are helping to push off the Texel fleet to join the common cause. As the Allies marched against France after Napoleon's defeat at Leipzig, a combined force was sent against Holland, which had been incorporated with the French Empire in 1810, and placed under the constitution of Jan. 1, 1811, the seventeen provinces of the Netherlands being united under the dominion of France. The Prussian and Russian forces, under General Bülow, were joined by a detachment from England under General Graham; the old Orange party once more came into activity, and on November 30, 1813, the hereditary Stadtholder arrived at the Hague. The caricaturist has simplified his view of the situation by ignoring the change of affairs that had intervened since 1810, when the Duke of Piacenza became the Emperor's representative in Amsterdam until 1811, when the State was merged into the French Empire. The artist has assumed that the kingdom had remained as administered at the resignation of Louis, July 1, 1810; and accordingly the abdicated monarch, without his crown, is pictured dancing about in a distracted state on the soil of Holland, deploring: 'Oh! Brother Nap, Brother Nap, we shan't be left with half a crown a-piece!' Napoleon is represented, according to the usual fashion of the satirists, flying about in an ungovernable frenzy as he views the receding fleet and recognises the revolt of the Netherlanders: 'Oh! Brother Joe, I'm all fire; my passion eats me up! Such unlooked-for storms of ills fall on me! It beats down all my cunning; I cannot bear it! My ears are filled with noise, my eyes grow dim, and feeble shakings seize every limb!'

The _Long Pull, Strong Pull, and a Pull all together_ is taking place on the mainland. The weight and persevering force of John Bull is telling on the towing-line; the Don Spaniard is hand-over-hand with the national prototype, a condition of things marvellously altered since the days of the caricature. A Russian, in furs, is the next in energy; an Austrian huzzar has the rope well over his shoulder; a Prussian and others are throwing their exertions into the haul; and all is moving as merrily as could be desired.

_November 27, 1813._ _The Corsican Toad under a Harrow._ Published by R. Ackermann, 101 Strand.--The Corsican, who is represented as both prematurely aged and haggard, is sprawled, spread-eaglewise, on the ground; upon him is a formidable harrow, which is kept in its place by the obese figure of a traditional Hollander, who is leisurely smoking, with his hands in his pockets and an Orange favour in his hat, in philosophic indifference to the situation and sufferings of the victim, who is exclaiming, 'Oh! this heavy Dutchman! Oh! had I not enough to bear before!!!'

A Cossack is goading on the prostrate leader of the French with his lance; and a bird of prey is swooping down, attracted by the smell of carrion. The harrow is in vigorous hands, representatives of Austria, Prussia, and other German Powers; Spaniards, Portuguese, and a British tar are tugging away with hearty good-will.

_November 27, 1813._ _The Execution of two celebrated Enemies of Old England, and their Dying Speeches, November 5th, 1813._ Published by R. Ackermann, 101 Strand.--The effigy of Guy Faux, with his lantern, is suspended by a rope round his neck to a gallows, and facing him, on another gallows, is the figure of the Emperor Napoleon, in his uniform as general of the French army. A bonfire is blazing up bravely, and a party of schoolboys and villagers are the delighted spectators. A note informs us that the scene is not an imaginary one, but is a faithful representation of a 'bonfire at Thorpe Hall, near Louth, Lincolnshire, on 5th November, 1813, given by the Rev. W. C---- to the boys belonging to the seminary at Louth, in consequence of the arrival of news of the decisive defeat of Napoleon Buonaparte by the Allies, at 11 o'clock P.M. on the 4th, and Louth bells ringing all night.'

_Guy Faux's Dying Speech._

I, Guy Faux, meditating my country's ruin by the clandestine and diabolical means of Gunpowder Plot, was most fortunately discovered and brought to condign punishment by Old England, and here I bewail my fate.

_Napoleon Buonaparte's Dying Speech._

I, Napoleon Buonaparte, flattered by all the French nation that I was invincible, have most cruelly and most childishly attempted the subjugation of the world. I have lost my fleets, I have lost the largest and finest armies ever heard of, and I am now become the indignation of the world and the scorn and sport of boys. Had I not spurned the firm wisdom of the Right Hon. William Pitt, I might have secured an honourable peace, I might have governed the greatest nation; but, alas! my ambition has deceived me, and Pitt's plans have ruined me.

_November 29, 1813._ _Dutch Nightmare, or the Fraternal Hug Returned with a Dutch Squeeze._ Published by R. Ackermann.--The great Emperor is stretched, sleepless, on his imperial state bed, with the diadem above and a row of captive crowns embroidered round the canopy, the fasces of Roman lictors at the feet, and the furniture powdered with golden eagles and fleur-de-lis. This luxurious couch is not to be coveted, since tranquil rest is out of the question. The Emperor is writhing in agony, saddled with a nightmare which is not to be dislodged. The Hollanders at this time contrived to shake themselves free from their fraternal friends the French, who had laid their country under contributions until the disciples of freedom prayed to be delivered from their tutors. The example of Holland and the victories ending with the triumph at Leipzig gained by the Allies, and especially the successes secured under Wellington, re-encouraged the subjugated and prostrate Powers to look forward to the recovery of their freedom, and to take their revenge on the little conqueror. A stout Dutchman, dressed in his national costume, and wearing the Orange cockade, is, according to the picture, returning the lesson in fraternity which had cost him dear at the hands of the French, by showing his instructor the vigour of a hearty Dutch squeeze. This heavy incubus, with his hands in his pockets, is smoking his pipe, and puffing the distasteful fumes full into the face of the powerless and disgusted Corsican, and crying, 'Orange Boven!'

_November 30, 1813._ _Plump to the Devil we boldly Kicked both Nap and his Partner Joe._ Published by T. Tegg (234).--The heavy Hollander, still sporting his Orange colours, is finally roused to dispose of the intruders by the most summary and quickest method possible; with his pipe in one hand and a squab bottle of Schiedam, or Dutch courage, held like a mallet in the other, Mynheer is giving Nap a taste of Dutch weight; one vigorous kick has propelled the little Corsican high into the air and plump into the arms of the Father of Evil, who is emerging from his 'Brimstone Lake' to make sure of his friend. In the distance another Dutchman, provided with a pitchfork, is prodding Napoleon's brother Louis--who had been created King of Holland--towards the same refuge for the destitute; the usurper's crown being left behind in the flight.

_December 4, 1813._ _The Corsican Munchausen--humming the Lads of Paris._ Published by R. Ackermann, 101 Strand.--The Emperor, with all the bombast, bravado, and speciousness of which he had an excellent command, has summoned a meeting of his faithful subjects and supporters--who, judging from the expression of their faces, appear but an unwilling and disaffected audience--in order to present his infant son to the people. The scion of the great captain is dressed in a miniature uniform, with a long sabre trailing on the ground, and a gold stick, which he is trying to fancy is a riding-horse. The Imperial throne, the back of which bears a Medusa's head and a globe of the world, is capsized by Munchausen's manoeuvrings. The Corsican is vapouring on a grand scale, trying ineffectually to raise the ardour of his dupes: 'Did I not swear I would destroy Austria? Did I not swear I would destroy Prussia? Did I not leave the Russians 1,200 pieces of cannon to build a monument of the victory of Moscow? Did I not lead 498,000 men to gather fresh laurels in Russia? Did I not burn Moscow, and leave 400,000 brave soldiers to perish in the snow, for the good of the French nation? Did I not swear I would destroy Sweden? Did I not swear I would have colonies and commerce? Did I not build more ships than you could find sailors for? Did I not burn all the British produce, bought and paid for by my faithful merchants, before their faces, for the good of them and of my good people of Paris? Have I not called my troops from Holland, that they might not winter in that foggy climate? Have I not called my troops from Spain and Portugal, to the ruin of the English? Did I not change my religion and turn Turk, for the good of the French nation? Have I not blown up the corporal for blowing up the bridge? Have I not robbed the churches of twenty flags to send to my Empress, for the loss of my own flags and eagles? And now, for the good of my Empire, behold, O ye Lads of Paris! I have put the King of Rome in breeches!!!'

_December 6, 1813._ _Funking the Corsican._ Published by R. Ackermann.--The situation of the Emperor, as pictured by Rowlandson, is becoming critical; he is elevated on a cask of 'real Hollands Geneva,' on the top of which he is dancing about in exasperation, unable to assist himself, and surrounded by his enemies, who are all putting the great conqueror to his wits' end and revenging themselves by smoking out the Corsican; each of the representatives of the rebellious States and Powers being armed with a pipe, and pouring volumes of the fumes round the person of the tortured general; Spain, Portugal, Hanover; the Cossack, the Pole, Austria, Sweden, Bavaria, and Prussia, seated on a cannon, are all assisting; the King of Würtemburg is provided with a flask of 'Würtemburg drops;' John Bull has his foaming jug of 'brown stout;' while the Dutch Mynheer, seated on a cask of Dutch herrings, with his tobacco-pouch and twists of pigtail, is drawing a flagon of Geneva to drink success to his Serene Highness, sending out a volume of tobacco-fumes, which are completing the irritation of the badgered Corsican, who is kicking off the head of the Hollands cask, into which he will evidently plump head over ears--

The fly that sips treacle is lost in the sweets.

Before disappearing condign vengeance is threatened on the heads of his enemies: 'Oh! you base traitors and deserters! Eleven hundred thousand Lads of Paris shall roast every one of you alive, as soon as they can catch you!'

_December 10, 1813._ _The Mock Phoenix!!! or a vain attempt to rise again._ Published by R. Ackermann.--Holland, in the person of a Dutch skipper, and Russia, in that of a Cossack, are blowing and stirring a fire which is to consume the Corsican. Flames are issuing from the furnace, and, in spite of the exertions of the stokers, the figure of the Emperor is seen dwarfed, but still intact, in the thick of the fire, but whether he will rise seems doubtful; his diadem is in full blaze, while the orb and sceptre are snatched away by certain diabolic claws, and the phoenix process threatens to prove a signal failure. Serpents are crawling out of the mouth of the furnace; showers of snakes, dragons, devils, and all kinds of monsters, kin of the phoenix, are hovering amidst the smoke, and making hostile demonstrations against the declining conqueror.

_December 12, 1813._ _Friends and Foes--up he Goes--Sending the Corsican Munchausen to St. Cloud._ Published by R. Ackermann.--The Emperor is left, unsupported, in the hands of his enemies, now turned into tormentors: he is thrown into a blanket and tossed up into the air, and is suffering worse discomforts than did Sancho Panza under a similar infliction; crown, sceptre, and sword are shaken off. '_O misericorde!_' cries the flying Munchausen as he is sent up to the clouds. John Bull (whose wig and hat have been thrown aside), the Dutch Mynheer, and Spanish Don are performing wonders with their side of the blanket; then come the Cossack, the Pope, the Pole, the Prince Imperial of Austria, the Emperors of Russia and Austria, and the Kings of Prussia, Hanover, and Würtemburg, who are all lending a hand to torment the Corsican.

_December 14, 1813._ _Political Chemists and German Retorts, or Dissolving the Rhenish Confederacy._ Published by R. Ackermann.--A delicate operation, which has engaged the attention of all the leading Powers of Europe, is supposed to be proceeding. The colossal power of the Corsican is undergoing transmutation, and the conqueror is gradually being resolved into his original elements. A _German Stove_ supplies the furnace, and the fuel is recruited from John Bull's _Coal Tub_; that patriotic person is assisting the process as one of the leading experimental chemists; _Dutch bellows_ are furnishing various powerful blasts; the _Spanish Don_ is pounding some effectually irresistible chemicals in his famous mortar, _Saragossa_. The Corsican has been forced into a receiver; Bernadotte is pouring in a portion of _sulphate of Swedish iron_ before the cover is fixed on; the Emperor, who has been reduced to mere pigmy proportions, is praying for time: 'Oh, spare me till the King of Rome is ripe for mischief yet to come!' In various retorts are seen the several elements which entered into the Imperial analysis, now resolved apart--_Intrigue and Villany_, _Ambition and Folly_, _Gasconade and Lies_, _Arrogance and Atrocity_, _Fire and Sword_, _Murder and Plunder_. All the leading States of Europe are engaged in the operation; the King of Würtemburg is giving his instructions; Prussia, Austria, Hesse, &c., are all interested in the success of the operation. The Pope has contributed two potent agents, _Fulminating powder_, and _Drops from the vial of wrath_. Russia, Poland, the Emperor of Austria, &c., are seated, as chemists, at a table dividing out the agents selected to dissolve the structure raised by Napoleon. From certain tracts at the Cossack's feet we learn that the 'liberty of Germany' and the 'downfall of Boney' are settled projects; while the name of Napoleon, as protector of the Rhenish confederacy, is crossed out, and that of 'Francis, Emperor of Austria, restored 1813,' is substituted in its old ascendency.

_Napoléon le Grand. Inventée par Dubois; Alex. Tardieu effigiem del. Deposée à la Bibliothèque Impériale._--A parody of the French plate of Napoleon's apotheosis--

Astre brillant, immense, il éclaire, il féconde, Et seul fait, à son gré, tous les destins du monde.-VIGÉE.

The head of Napoleon appears as the centre of the constellation, _Polar Star_, elevated, in this case, like that of a traitor, on a pole, and surrounded by entwined and hissing serpents. Above is the face of Satan, wearing a crown of _Damnation_, supported by two escutcheons, marked _Heart of Tyrant_, and _Vulture_, with scourges and pronged forks. The pole is elevated on the great globe; in either corner is a French eagle; above the Imperial ensigns are pikes, axes, and standards, 'flags manufactured for the Empress,' &c.

The lustre of the constellation, Napoleon, is likely to suffer an eclipse from the sudden descent of a Dutch comet--a philosophic Hollander, seated astride on a barrel of Hollands Schiedam, the contents of which he is ignominiously discharging over the head of the solitary star of the firmament. The golden rays with which the _astre brillant_ is illuminating the universe owe their source to the following luminous achievements:--

Assisting in the assassination of Louis the Sixteenth, my Benefactor. Murdering the citizens of Paris under Robespierre. Murdering the citizens of Toulon. Insulting the Pope, robbing and plundering the churches, &c., &c. Poisoning my own sick soldiers at the hospital at Jaffa. Murdering the Duke d'Angouléme. Treacherously betraying the King of Spain and his family. Murdering the inhabitants of Madrid in cold blood. Murdering Captain Wright in the Temple, at Paris. Marrying two wives and intriguing with the daughter of one of them. The murder of Palm, of Hofer, &c., &c. Leading 500,000 Frenchmen to perish in Russia by the severity of the season 1812. Losing another similar army the following year in Germany, 1813. Writing lying bulletins. Losing all the colonies, commerce, and shipping. And for all these brilliant exploits I am now to be sent headlong to the Devil.

_December 25, 1813._ _Mock Auction, or Boney Selling Stolen Goods._ Published by R. Ackermann, 101 Strand.--Napoleon is pictured, before his reverses became of a decided character, contemplating realising the conquests he had in hand, with a possible view of retiring from the trade. The Emperor has a sale-pulpit, and is himself officiating as auctioneer; the lot which is being offered is the crown of Spain; an old general is holding up the diadem, and the auctioneer, impatient at the indifference of the purchasers, is crying, 'What! no bidding for the crown of Spain? Then take the other crowns and lump them into one lot'--referring to a pile of diadems, the crowns of Russia, Austria, Prussia, the Papal tiara, &c., thrown into a corner, with bundles of standards, 'lots of useless eagles,' &c. Lot 2, 'Twenty flags, the property of the Empress,' 'Kingdom of Prussia,' 'Kingdom of Westphalia,' 'Saxony,' 'United Provinces,' &c. The Empress is standing behind her husband, with the infant prince in her arms. Napoleon's heir is dressed in a uniform like his father's; his face is that of a monkey. 'I suppose daddy will put us up for sale?' he is represented as saying to the Empress.

The Mock Auction has drawn plenty of company together. The Dutchman is smoking his pipe with his accustomed philosophy; a British tar is patting him on the back, as his very cordial ally, and ridiculing the Corsican's failure. The King of Würtemburg, Russia pictured as a Cossack, Austria as a huzzar, Prussia, Bavaria, and other Powers are present. The Spanish Don is making light of Buonaparte's pretence of offering his crown for sale; 'That a crown!' he is shouting. 'It's not worth half a crown!'

_December 30, 1813._ _How to Vault in the Saddle, or a new-invented Patent Crane for the Accommodation of Rheumatic Rectors._ Rowlandson delin. and publisher.--The incident depicted is taking place at the door of the rectory, beside the church porch, where a crane has been erected for the accommodation of the gouty and unwieldy divine. Two frisky and solidly-built damsels are hauling away at a rope, to which a sling is attached. The corpulent rector is swinging in mid air, preparatory to being lowered into the saddle; in his pocket is shown a discourse on the apposite text--'_He that humbleth himself shall be exalted_.' A grinning groom is holding the head of a high-cruppered horse; the minister's steed is a curiously constructed instance of equine anatomy, fondly reviving the image of the faithful _Grizzle_, rendered memorable as the _Rosinante_ of Doctor Syntax, the long-enduring companion of his famous _Tour in Search of the Picturesque_.

1813 (?). _Witches in a Hayloft._ Woodward delin., Rowlandson sculp. Published by T. Tegg (226).--Two witches of orthodox type, with broomsticks, red cloaks, and steeple-crowned hats, are seated at a cauldron, working incantations, to assist at which serpents, hobgoblins, and various weird monsters are conjured up. A rustic clown, with a lantern and hayfork, who has thrown back the trapdoor, and is ascending to the hayloft for some purpose, is paralysed with horror and affright at the unholy spectacle suddenly revealed to his sight.

1813. _Business and Pleasure._ Published by T. Tegg. (272).

1813. _The Glutton._ Published by T. Tegg (274).

1813. _The Quaker and the Commissioners of Excise._ Woodward del., Rowlandson sculp. Published by T. Tegg (276).--Four well-fed Commissioners, the members of a board, seated at the green baize, are cross-questioning a Quaker, represented in a suit of conventional sad-coloured apparel, and wearing the typical broad-brimmed hat. The humility of the sectarian has proved too deep for the inquisitors, whose exactions he is evading. The chairman is indignantly remarking, 'What an impertinent fellow to keep on his hat before such a dignified assembly!' Cries one of the examiners, 'None of your _thees_ and _thous_ here, sir--come to the point--we know you have evaded certain duties.' 'Pray, sir, do you know what we sit here for?' pertinently demands another commissioner; to which the Quaker, with clasped hands, and rocking himself, like _Mawworm_, on his toes, responds, 'Verily I do--some sit here for five hundred, others for a thousand; and moreover I have heard it reported that some sit here for two thousand pounds per annum!'

1813. _Doctor Syntax, in the Middle of a Smoking Hot Political Squabble, wishes to Wet his Whistle._ Published by Thomas Tegg, Cheapside (209).

1813 (?). _A-going! A-going!_ Newton del., Rowlandson sculp., Published by T. Tegg.--A wretched invalid--propped up in an armchair, without the power to assist himself--has evidently done with the 'prescriptions, boluses, and blisters' at his side, since the ranges of physic-bottles which ornament his apartment have, to all appearance, finished the patient's business effectually; he is visited by a corpulent self-satisfied practitioner, whose hat is under one arm and his cane under the other; the doctor is addressing his unconscious patient: 'My dear sir, you look this morning the picture of health; I have no doubt at my next visit I shall find you utterly cured of all your earthly infirmities.'

1813 (?). _Giving up the Ghost, or one too many._ Newton del., Rowlandson sculp. Published by T. Tegg (292).--Stretched on a poor pallet, in a bare chamber, lies a wretched sufferer; by his side, sleeping in an armchair, is a lace-ruffled and powdered doctor, in whose pocket appears a dose labelled _Final_. An undertaker, in professional weeds, is coming in at the door, with his crape-bound mute's wand in his hand, and a coffin strapped on his shoulder. The ghostly personification of Death, as a skeleton, holding up his hour-glass, is pointing his dart through the latticed window. Below the chair of the smug slumbering practitioner appears a paper bearing the well-known lines:--

I purge, I bleeds, I sweats 'em; Then, if they die, I lets 'em!

1813. _The Cobbler's Cure for a Scolding Wife._ Published by T. Tegg (294).

1813 (?). _Cracking a Joke._ Woodward del., Rowlandson sculp. Published by T. Tegg (296).

1813 (?). _The Ghost of my Departed Husband, or whither, my Love, ah! whither art thou gone?_ Rowlandson sculp.--A grotesque scene in a churchyard. An old lady is rolling over in consternation amongst the graves, and with apparently some substantial motive for her alarm; a fantastic monster, in a red nightcap, has tripped her up, while an old gentleman, cautiously proceeding with staff and lantern, is very considerably shocked at the lady's sudden upset.

1813. _Hopes of the Family, or Miss Marrowfat at Home for the Holidays._ Published by T. Tegg (296).

1813. Engelbach (Lewis). _Letters from Italy_, (_Repository of Arts_, 1809-13). Republished as _Naples and the Campana Felice_. Seventeen plates by T. Rowlandson. (See 1815.)

1813. _Poetical Sketches of Scarborough._ Text signed 'J. P.' (J. B. Papworth), text initialled 'W.' (Rev. Francis Wrangham), and anonymous text written by William Combe. The titlepage runs thus:--'_Poetical Sketches of Scarborough. Illustrated by twenty-one engravings of humorous subjects. Coloured from original designs made upon the spot by J. Green, and etched by T. Rowlandson._ London: Printed for R. Ackermann, 101 Strand. 1813.'

'Advertisement.--The originals of the plates introduced in this volume were sketches made as _souvenirs_ of the place during a visit to Scarborough in the season of 1812. They were not intended for publication; but being found to interest many persons of taste, several of whom expressed a desire to possess engravings of them, and some gentlemen having offered to add metrical illustrations to each, the present form of publication has been adopted.

'The several authors were not personally acquainted with each other. If this circumstance, and that of every design having been made previously to the composition of a single couplet, be considered fair ground of extenuation for faults, they claim its advantages.'

_Illustrations._

Frontispiece.--Widow Ducker, and her Nymphs. A Trip to Scarbro'. (The Coach upset in a Duckpond.) (York.) The Breakfast. (Parlour of the 'Old Bell Inn.') The Spa. (Spa Well Stairs.) Spa Terrace. Boot and Shoe Shop. The Castle (and North Shore). The Warm Bath. Cornelian Bay. Sea Bathing. A Drive on the Sands (Newby and Scalby). The Church and Churchyard. The Shower Bath. The Library. The Promenade. The Theatre. The Ball-room. The Terrace Steps. The Water Party.--Wet Quakers. The Post Office. The Departure.

_August 16, 1813._ _The Tour of Doctor Syntax in Search of the Picturesque. A Poem._ Illustrations drawn and etched by T. Rowlandson.

[Dr. Syntax originally appeared, in parts, in the _Poetical Magazine_.]

Frontispiece.--The Rev. Dr. Syntax. The Rev. Dr. Syntax Setting out on his Tour to the Lakes. " " Losing his way. " " Stopped by Highwaymen. " " Bound to a Tree by Highwaymen. The Rev. Dr. Syntax Disputing his Bill with the Landlady. " " Copying the Wit of the Window. " " Entertained at College. " " Pursued by a Bull. " " Mistakes a Gentleman's House for an Inn. " " among the Tombstones. " " Tumbling into the Water. " " Loses his Money on the Raceground at York. " " at a Review. " " with my Lord. " " made Free of the Cellar. " " Sketching the Lakes. " " Drawing after Nature. " " Robbed of his property. " " Sells his horse 'Grizzle.' " " Rural Sports. " " with the Dairymaid. " " at Liverpool. " " Reading his Tour. " " Preaching. " " with the Bookseller. " " at Covent Garden Theatre. The Doctor's Dream: 'The Battle of the Books.' The Rev. Dr. Syntax returned from his Tour. " " taking Possession of his Living.

1814.

_January 1, 1814._ _The Double Humbug, or the Devil's Imp Praying for Peace._ Published by R. Ackermann.--In two compartments: _Napoleon before his Slaves_, and _Napoleon before his Conquerors_. The first view represents the Senate; the Emperor is standing on his throne, which is propped upon the crowns of conquered kingdoms; his dark friend, the Devil, is leaning over the back of the Imperial chair and prompting the specious harangue which Napoleon is addressing to the senators, who do not seem to be much interested in the proclamation, and, on the whole, according to the artist's showing, look very like a body of imbeciles. _Extracts from Buonaparte's Speech. Sunday, December 19, 1813._--'Senators, Councillors of State, Deputies from the Departments to the Legislative Body,--Splendid victories have raised the glory of the French arms during this campaign. In these weighty circumstances it was my first thought to call you all around me. I have never been seduced by prosperity; I have conceived and executed great designs for the prosperity and the happiness of the world. As a monarch and a father, I feel that peace adds to the security of thrones and that of families. I have accepted proposals and the preliminaries. It is necessary to recruit my armies by numerous levies, and an increase of taxes becomes indispensable. I am satisfied with the sentiments of my people of Italy, Denmark, Naples, America, and the nineteen Swiss Cantons, and have acknowledged the laws which England has in vain sought, during four centuries, to impose on France. I have ordered discharges of artillery on my coming and leaving you.'

The other side of the picture displays the fallen Emperor under an entirely opposite aspect; this time he has to confront his enemies, and a totally changed demeanour is adopted. The Corsican is on his knees; before him is his sword, a pile of standards, and the diadems he had abstracted from numerous crowned heads; the crown of France he has tucked under his arm; all the rest he is offering to restore to his enemies, the rightful owners, who have mustered in force and are completely masters of the situation. The attitudes of the Allies are expressive of their indignation at 'Boney's' shameful avowals; while Talleyrand, on his lame leg, in the greatest trepidation at the dangers which face him, is offering to swear to the truth of the damaging admissions which his master has found it expedient to make, since falsehood will not serve him in this quarter.

'Gentlemen, Emperors, Rhenish Confederations, &c., &c., &c.,--Behold before you a fallen impostor, who has for many years been drunk and intoxicated with ambition, arrogance, and insolence; who has deceived, cheated, and tricked you on many occasions; who has foolishly and wickedly lost, within a twelvemonth, a million of brave but deluded Frenchmen; who has conceived the great and diabolical design of enslaving the world, and has lost all his friends except Yankee Maddison. Now, gentlemen, to make amends for my sins, I solicit your pardon and ask for peace on your own terms, gentlemen, and I will strictly adhere to it till.... You may take all those crowns back again, except the one belonging to the Bourbons. My Empress sends you also back the twenty flags I found in some of the churches, in the course of my flight from Leipzig. As for the story, gentlemen, of the corporal and the blowing up of the bridge, you must know 'twas mere humbug to gull the lads of Paris.'

_January 1, 1814._ _Death and Buonaparte._ Published at Ackermann's Repository.--The Corsican, who had faced and conquered Fate on so many fields of battle, is at length confronted with the grim foe under circumstances which lend additional terrors to his proximity. The reverses which overtook the conqueror at Leipzig are already threatening the downfall of that intrepid will and shaking a self-possession hitherto imperturbable.

Rowlandson has taken advantage of the thickening disasters, which had then commenced to check the prowess of the Emperor's armies, to represent the Corsican in a fit of despondency, forlorn and abstracted, seated on a drum in an attitude of dejection, with his head between his hands, staring in the face of the King of Terrors, of whose close company he is seemingly too self-occupied to take much heed. The grim destroyer, as the skeleton Death, is watching the baffled general face to face, assuming a parody of his attitude, and seated on a gun, with a broken eagle standard at his bony feet. The Russian, Austrian, Prussian, Bavarian, and other allied armies are streaming along in unbroken hosts, scattering the dismayed legions of France, and making havoc amidst the ranks of the discouraged Grand Army, which is melting away before the combined forces.

_The transparency exhibited at Ackermann's Repository_ (See Nov. 5, 1813) _on the occasion of the illuminations for the victory of Leipzig_.

_January, 1814._ _Madame Véry, Restaurateur, Palais Royal, Paris._ T. N. del., Rowlandson sculp. (348).

_January, 1814._ _La Belle Limonadière au Café des Mille Colonnes. Palais Royal, Paris._ T. N. del., Rowlandson sculp.

_Café des Mille Colonnes--'Dance of Life.'_

This sober verse, this tranquil strain, Were it to strive, would strive in vain That in its couplets should be shown The Café of the Mille Colonnes. The pencil gives a better ken Of its fair Queen--for, ah, no pen Can paint her glory's grand design, At least an earth-made pen like mine; I therefore leave it as 'tis done, To the rare skill of ROWLANDSON; By whose enliv'ning, vivid touch, To which this volume owes so much, The lady's splendour will survive When all her graces cease to live, And the proud mirrors shall no more Reflect her beauties ten times o'er; Or when another takes her chair, Not half so fat, if half as fair.

An extract from Planta's 'New Picture of Paris' is added by way of footnote: 'The Café des Mille Colonnes is in the Palais Royal, and receives its title from the beautiful gilt columns which are reflected by enormous mirrors, disposed with such skill that they appear to be at least a thousand. The room presents an overwhelming glare of decoration. The priestess, or rather the divinity, of this luxurious temple is unrivalled among these places of public entertainment for the charms of her person, the splendour of her dress, and the elegance of her manners. The elevated seat which she occupies was once the throne of the Viceroy of Italy, and was purchased by the proprietor of the coffee-house for the exorbitant sum of twelve thousand livres.'

_January 30, 1814._ _Quarter Day, or Clearing the Premises, without consulting your Landlord._ Published by T. Tegg (318).--A cart has been driven to the door of a certain residence, and the ladies of the establishment are hastily heaping all the contents of the house--furniture, bedding, culinary, and other utensils--indiscriminately into the conveyance.

_February 10, 1814._ _Kicking up a Breeze, or Barrow-women Basting a Beadle._ Published by T. Tegg (310).--The beadle of a provision market, who has laid hands on the barrow of a seller of black puddings, has been seized by the nose, in a fashion to blind both eyes at once, by a muscular female, to whom the overturned barrow belongs; her stalwart right arm and massive fist at the same time are making energetic play on the person of the discomfited functionary, who has become, from some act of interference on his part, the centre of a general attack; a dog is threatening his legs, and a hag is belabouring his rear with her basket. Butchers and poulterers' men are enjoying the diversion.

_February 14, 1814._ _Progress of Gallantry, or Stolen Kisses Sweetest._ Published by T. Tegg (313).

_February 20, 1814._ _A Tailor's Wedding._ Published by T. Tegg (315).

_March 1, 1814._ _Crimping a Quaker._ Published by T. Tegg (317, originally published as 261).

_March 2, 1814._ _Head Runner of Runaways from Leipzig Fair._ Published by R. Ackermann, Strand.--The Emperor Napoleon, dressed in the simple and familiar habit by which his figure is best recognised, the little cocked hat, the green coat, buttoned across the chest, the white waistcoat and breeches, is tearing his hardest towards 'Maynz' and the Rhine; a frightened hare, suggestive of the Imperial courage, is scampering before him and marking the way. The 'little Corporal' carries, instead of a walking-stick, the effigy of the great Emperor of Germany, _Carolus Magnus_, at the head of a pole. On his back is a pack, from which the various collections he had previously gathered are suffered to escape: Italy, Holland, Switzerland, Rheinland, Hanstat Département, Poland; paper prints of soldiers, _Alte Garde_ and _Junge Garde_--are blowing away and being left behind in the flight.

_March 12, 1814._ _The Devil's Darling._ Published by R. Ackermann.--The Dark Fiend in person, drawn on a tremendous scale, with his claws, horns, hoofs, tail, and terror-striking accessories, is seated on his sulphurous floor, cradling and dandling his pet progeny, '_Little Boney_;' the figure of the Corsican is wrapped up like a mummy in swaddling-clothes, bound round with tricolor ribands; the face is alone exposed; and his Infernal Majesty is contemplating the calm, thoughtful, wax mask-like countenance of his reputed vicegerent on earth with earnest attention; his own features are wearing an expression which is at least threatening; the Legion of Honour, instituted by the Emperor, is held out by the apocryphal fiend as a bauble to tempt the spoiled child in his lap.

_April 9, 1814._ _Blucher the Brave extracting the Groan of Abdication from the Corsican Bloodhound._ Published by T. Tegg (322).--The Corsican has been run down; the sturdy figure of the indomitable General Blucher is shown acting as his executioner. Having come up with the enemy and beaten him, the general is shaking the bloodhound out of his trappings; sword, diadem, and habit are cast aside, and the creature is swinging in the Prussian's iron grasp, a mere frightened cur, with nothing of the dreaded 'Boney' left but his head. A boat is on the shore, and the fugitive, _Brother Joe_, the rejected 'intrusive King' of Spain, in mortal terror is running his hardest to embark for the Island of Elba; the boatman is loading in the future provision, £20,000 a year, the income decreed the Corsican for his new state. Besides the deportation of the Buonapartes another scene is transpiring: Louis the Eighteenth, a portly and good-natured-looking sovereign, is received with acclamations from all sides, while his friends the Allies discreetly remain in the rear; the white flag of the Bourbons, with its _fleur de lis_, is waving over the restored descendant of St. Louis; the monarch's legitimate crown is restored, and the figure of Peace personified is adding a laurel wreath; Churchmen and some of 'Nap's' old servants are offering their homage, and the wily Talleyrand has apparently 'ratted' judiciously at the critical moment, as the change of masters has not displaced the veteran diplomatist, and he is waiting on the King with a new 'list of ministers for your Majesty's approval.'

_April 12, 1814._ _Coming in at the Death of the Corsican Fox. Scene the Last._ Published by R. Ackermann.--Neither the subject nor its title are altogether original, as, some six years previously, Rowlandson's contemporary, James Gillray, had chosen to illustrate the reverses which had attended the French arms in Spain by a similar cartoon, in which George the Third appeared as the huntsman, holding out the carcass of the Corsican fox. Both conceptions, in these instances, as subsequent events proved, were somewhat premature as far as the conclusiveness of the performance was concerned.

Prince Blucher, the valiant old trooper, has taken the lead of the field; he has dismounted from his horse, whose bridle he is holding in his left hand, while his right is locked round the throat of the Fox, who is struggling and clawing vainly to get free; 'Boney's' face is turning the pallid hue of deadly fear in sight of the eager pack of hounds, which are showing their teeth and leaping forward to rend the vermin to fragments; the dogs are of good strain; on their collars may be read the names of those generals who finally outwitted the Corsican--Wellington, Swartzenberg, Kutusoff, Platoff, Crown Prince, York, &c., &c. The allied Emperors and Kings are riding down to be 'in at the death,' and in the distance are seen burning towns, which have been recently devastated by the ravages of the Corsican in his career of ambition.

_April 12, 1814._ _Bloody Boney, the Carcass Butcher, left off Trade and Retiring to Scarecrow Island._ Published by T. Tegg (323).--The exiled general is reduced from his state; he is meanly travelling Elbawards, and has reached the seashore, whence he is to embark for his island residence. A gibbet by the way, with a rope in readiness, is serving as a fingerpost to point the road; vultures, which fly round this suggestive object, express a desire to pick the bones of the retiring 'carcass butcher.' All the splendours of 'Boney's' surroundings are stripped bare; he is riding on a rough-coated donkey, and wearing a 'fool's cap' in place of a crown; his only provision is a bag of brown bread; his consort, loose and ragged, is seated at the crupper on the same beast, which is being unmercifully flogged with a stick labelled '_Bâton Marcéchal_;' 'Boney' is lost in terror; his juvenile heir, lately made King of Rome, is preceding the _cortége_, mounted on a 'Corsican dog.'

A French postilion, of the old school, is jumping about for joy, in his huge bucket-like jack-boots, flourishing his whip, and rejoicing to see the backs of the usurping Corsican and his party: 'Be gar, you _coquin_, now I shall drive my old friends and _bonnes_ customers _de_ English. _Vive le Roi et la Poste Royale!_'

_April 15, 1814._ _The Rogue's March._ Published by T. Tegg (321).

From fickle Fortune's gamesome lap What various titles flow! The Emperor of Conj'rors, Nap, The King of Beggars, Joe!

General Prince Blucher is leading off the two convicts; a halter is round 'Boney's' neck; he has donkey's ears, and is made to wear a fool's cap, inscribed, 'Transported for life;' his face bears a look of terror and degradation as he is dragged forward by his merciless conductor, handcuffed to his brother Joe, 'ex-King of the Beggars,' who is branded 'Coward and Thief.' A scorpion, 'Execration,' is fastening on to 'Boney's' person; and another reptile, 'Detestation,' is spitting venom at his less conspicuous relative. The exiled convicts are being conducted past a file of Prussian Guards, and the drums are beating the 'Rogue's March.' Their leader, Blucher, bears a long quarter-master's staff, with a proclamation setting forth: 'Napoleon, late Emperor of the French, King of Italy, Protector of the Confederation of the Rhine; Grand Arbiter of the Fate of Nations, &c., &c., &c., but now, by the permission of the Allied Sovereigns, exile in the Isle of Elba, an outcast from society, a fugitive, a vagabond. Yet this is the conceited mortal who said, "I have never been seduced by prosperity; adversity will not be able to overcome me!"'

A contrast to the crestfallen Bonapartes is offered in the restored Bourbons. A flagpole is set up, and the old royal standards are unfurled: 'Rejoice, O ye Kings! _Vive le Roi!_' The sovereigns of Europe once more enjoy the opportunity of wearing their crowns in peace; and the allied monarchs are shown, in their royal robes, with all their splendours restored, dancing hand-in-hand in a ring round their combined escutcheons: 'Now we are met, a jolly set, in spite of wind or weather!'

_April 17, 1814._ _The Affectionate Farewell, or Kick for Kick._ Published by R. Ackermann.--Buonaparte is being driven from France; it is clear that his presence there, after the settlement of his abdication, was a source of embarrassment while waiting for an opportunity to sail for his new island kingdom. The late Imperial Chancellor is the most eager to be rid of his disgraced master; the 'minister of expediency' is menacing the flying enemy; in one hand he holds the deed of expatriation, 'Abdication, or the last dying speech of a murderer--who is to be delivered into the hands of the Devil the first fair wind.' 'Tally' is attacking his ancient confederate 'Boney' with his club-foot and his crutch simultaneously: '_Va t'en coquin._ I'll crack your crown, you pitiful vagabond;' to which the flying exile, with his hat held in hand as a mark of respect to his new master, is responding with humility: '_Votre très humble serviteur, Monsieur Tally_.' A gibbet, with its noose ready, is pointing to the 'Isle of Elba.' Seen in the distance is the 'Boney' family, there receiving the elevation which they have merited, all the members being collectively exalted on a gallows. The victims of 'Boney's' successive campaigns and actions without cessation, invalids whose limbs have been lost in his wars, are rushing up as fast as their maimed condition will permit, flourishing their crutches and unstrapping their wooden legs, as offensive weapons wherewith to avenge their injuries, crying: 'Bone him, my tight little Tally;' while an invalid with one arm is waiting for the flying general at the place of embarkation: 'What! let him sneak off without a mark or a scratch? No, no, I'll darken his daylights for him!'

_April 20, 1814._ _A Delicate Finish to a French Usurper._ Published by J. Asperne, 60 Cornhill.

Boney, canker of our joys, now thy tyrant reign is o'er. Fill the merry bowl, my boys, join in bacchanalian roar. Seize the villain, plunge him in--see, the hated miscreant dies. Mirth, and all thy train, come in; banish sorrow, tears, and sighs!

The events which followed Leipzig are bearing their fruit; the heads of the Coalition have been called in, and 'Boney' is being subjected to rigorous treatment; he is seated on a throne constructed of skeletons and skulls, wrapped round with the Imperial purple, powdered with his emblems; but the bees are taking flight and forsaking their _protégé_; Field Marshal Prince Blucher is offering the sufferer, who is sick in extremity, a huge goblet to be quaffed to the dregs--'Blucher's black draught.' The crown and sceptre of tyranny and all the 'Corsican's' conquests, Portugal, Vienna, Poland, Milan, Spain, Rome, Moscow, Holland, Switzerland, Vienna, Saxony, Florence, Dantzig, &c., have been disgorged. The figure of Father Time has winged his way to reckon with the usurper; his hourglass is held aloft, and with a golden extinguisher Time is about to snuff Boney out. Wellington, the Emperor Alexander of Russia, the Emperor of Austria, and the Crown Prince are in attendance to see the last of their troublesome enemy. France is once more freed, joyful and smiling; the labours of agriculture are resumed, and three symbolical nymphs are executing a joyful dance appropriate for the occasion, and supporting the arms of the restored Bourbons.

_April 25, 1814._ _Nap Dreading his doleful Doom, or his grand entry into the Isle of Elba._ Published by T. Tegg (328).--The general has arrived in his island kingdom, according to the satirist; the ship which conveyed the abdicated monarch is riding in the bay; Boney's luggage has just been set on the shore by a smaller craft; a single guard, one of the Mamelukes, is sitting disconsolately by the diminished effects of his master. The somewhat squalid inhabitants, Nap's future subjects, are crowding down the rocks with vulgar curiosity, pressing onwards through a narrow pass leading to the shore; they seem inclined to ridicule the deserted state of their distinguished guest, who is plunged into dejection at his prospects.

Woe is me, seeing what I have seen, And seeing what I see!

A coarse stout female is patting the exile familiarly on the back and offering him her pipe by way of hospitality: 'Come, cheer up, my little Nicky; I'll be your Empress!'

_May 1, 1814._ _The Tyrant of the Continent is Fallen; Europe is Free; England Rejoices._ Published by R. Ackermann, 101 Strand.--The 'Corsican' is exposed to a worse fate than fell to Belshazzar; his conquests are taken from him, the throne of state is overset, the Imperial purple is stripped from his shoulders, the diadem and sceptre have fallen; the sovereignties, crowns, and dignities which were his playthings are swept away; the once almost master of the world is now in a desperate strait; his person is seized by the Father of Evil, who is claiming his due; the presence of the Foul Fiend has disturbed Napoleon less than the hand of Fate: 'Empire and victory be all forsaken to plagues, poverty, disgrace, and shame. Strip me of all my dignities and crowns. Take oh take your sceptres back. Spare me but life!' An arm of vengeance, appearing from the clouds, has effectually paralysed the faculties of the conscience-smitten conqueror; a flaming sword is hanging over his devoted head, and a voice of terror is proclaiming retribution:--

Thou'rt doom'd to pains at which the damn'd will tremble, And take their own for joys.

_May 1, 1814._ _Boney turned Moralist._ Published by R. Ackermann.--1. _What I was--a cruel tyrant._ The Emperor is shown in all his glory of empire and conquest, his back to the Palace of the Tuileries, and dressed in the robes of state, the purple mantle on his shoulders, the diadem on his head, the orb and sceptre in his hands; his feet raised on crowns of vanquished kings, and potentates enslaved to prop his state.

2. _What I am--a snivelling wretch._--The general is seen in solitary abandonment on the island rock which constituted his miniature kingdom of Elba, shedding tears over 'the brief history of my life, which I intend to publish.' This view is, like most of the deductions of satirists, rather beyond the strict veracity of the case. Bonaparte showed himself during his stay in Elba, as it will be remembered, both active and cheerful-minded; and it is recorded that he would discuss with the visitors--who flocked to his miniature kingdom from motives of curiosity--his present condition and his past state with pleasant humour and even jocularity.

3. _What I ought to be--hung for a fool._--The figure of Napoleon, with an ass's ears added, is suspended on a gallows.

_May 1, 1814._ _Irish Jaunting Car._--Hull, Esq., del. Etched by T. Rowlandson. Published by T. Rowlandson, 1 James Street, Adelphi.

_May 8, 1814._ _Peace and Plenty._ Published by T. Tegg (324).--The artist's view of the situation, with the smiling prospect of peace as set forth in 1814, was somewhat premature, as the more desperate events of the year following amply confirmed; but, with a general concord prevailing amongst the Allies, with the restless 'disturber of the peace of Europe' safely dismissed to the Island of Elba, there to amuse his giant ambition by administering affairs in his miniature kingdom, the old monarchy being comfortably restored to France for an interval, it was generally concluded that the world would once more be suffered to move along pacifically, and that a new era of plenty and commercial prosperity was reopening.

_Peace and Plenty_ are represented much as such things look on the eve of a congress of military powers, _Peace_ meaning the forces held in readiness, and _Plenty_, in this case, referring principally to the war-chest, a plentiful supply of artillery, powder, shell and shot, and other offensive materials. The scene is fixed on one of the fortifications which had been set up to protect the security of our coasts; the cliffs of 'old England' bristle with Martello towers and island defences. A drummer is sleeping tranquilly, with his arm and head resting on his instrument, and a pile of cannon balls by his side; there are great guns of brass and iron, with a mortar and shells, ready for use, while sentries are on the look-out, and the soldiers are fully equipped. The British standard is flying, and an air of gallantry is introduced by the presence of certain buxom females, who are exciting the admiration of the soldiers of the garrison gathered around the Dulcineas and ogling and flirting with the skittish fair, whose ample proportions are such as to win the hearts and turn the heads of these 'sons of Mars,' released for a while from 'war's alarms,' of which the warriors were becoming reasonably tired after so many years of hard and comparatively profitless campaigning.

_May 15, 1814._ _Macassar Oil: an oily puff for soft heads._--It is rather a question whether subjects similar to the present, in which some popular nostrum was held up to ridicule, were wholly playful or in part executed to order--a skilful method of indirect puffing much and ingeniously practised in the magazines and other channels of the day. The wondrous fluid Macassar is seen in application. A stout old party has laid off his fool's cap and is seated in an armchair, undergoing a trial of the efficacy of the oil: the perfectly bald head of the subject is a good field for its employment, and the operator--who, by some inconsistency characteristic of vendors of hair restoratives, is quite bereft of hair himself--is sleepily pouring oil from a flask over the broad surface beneath him. A lady has apparently been making a trial of the process, and on consulting the looking-glass she seems amazed to find a bushy head of hair pushing itself straight upwards with amazing vigour. Round the apartment are files of bottles, 'wig oil, one guinea per bottle,' and notices, 'Wonderful discovery: carroty or grey whiskers changed to black, brown, or blue, &c.'

_June 14, 1814._ _Miseries of London, or a Surly Hackney Coachman._

_June 20, 1814._ _Rural Sports, or a Pleasant Way of Making Hay._ Published by T. Tegg (16).--In the rear are lasses raking the hay together, and lads are tossing the loads on to the well-filled wains. In the front of the picture is a group of boisterous haymakers of both sexes, who, throwing aside their rakes and forks, are tumbling the hay about by armfuls, rolling one over another in the grass, and sprawling about in picturesque confusion.

_July 14, 1814._ _The Rivals._ Published by T. Rowlandson, James Street. (See 1812.)

1814. _Portsmouth Point._ Published by T. Tegg (255).--The varied humours of Portsmouth are displayed with the caricaturist's native vigour. Nothing could be more animated than the picture, which has an air of truth, nor could the scene be represented with fuller character, all its grotesque features being brought forward with ready fun. The landing-place is bustling with business; small craft of all sorts are pulling off to the ships; luggage, spirit-casks, and packages are being wheeled or shouldered off for debarkation. A couple of sailors, with hands across to form a sedan, are carrying a stout lady of fashion down to a lighter. Jack on shore and Jack taking his chest seawards are elbowing busy stevadores. A commander, his lady, and a porter bearing his sea-trunk, are in the centre of the crowd; a wooden-legged fiddler is tipping a stave for 'Poll and her partner Joe,' and a frolicsome tar is giving a parting salute with more ardour than propriety. On one side is the respectable element--the admirals, captains, and other naval officers, and their families, who are parting from wife and children with a tender embrace at the door of the Ship Tavern; and many a gallant naval hero is draining his last bowl of punch on shore. On the opposite side such rougher contrasts are exhibited as common sailors, lodging houses, outfitting emporiums, cast clothes marts, and ship-store shops, _Moses Levy--Money Lent_, and similar tempting emporiums, where customers are inspecting second-hand apparel. Such a spectacle would not be complete, according to the taste of the times or the actualities of the case, without some sort of uproariousness, and so we are treated to the sight of a young lady carted off helplessly inebriated, a friendly companion supporting her shoulders, and an honest blue-jacket bearing her legs unceremoniously slung over his back. Another bacchanalian incident is rendered on the left, where a grinning sailor, half-seas over, who is at least better-tempered in his cups than George Cruikshank would have condescended to draw him in his teetotal days, is sprawling on the road by his broken pipe and overbalancing a florid and equally tipsy Venus, his lady-love, who is in some degree the reason of the Jack Tar's degradation.

_September 15, 1814._ _The Three Principal Requisites to form a Man of Fashion: Dress like a coachman; study boxing and bull-baiting; speak the slang language fluently._

_September 15, 1814._ _The Four Seasons of Love._ Rowlandson del. Published by T. Tegg.

_Spring._--A suitor, _Jerry Thimble, Tailor_, is kneeling at the feet of a blooming fair one; both of the turtle-doves are in the prime of life. 'Oh, you bewitching angel,' sues the tailor, 'behold at your feet a swain as tender as a veal cutlet. You are the very broadcloth of perfection; have pity on me, adorable Mrs. Griskin!' To which appeal the melting and buxom widow responds: 'You enchanting devil, I do not know what to say to you; however, Mr. Thimble, that mole between your eyebrows puts me so much in mind of my poor dear departed husband that I think I can't refuse you.'

_Summer._--The wedded pair are enjoying a suburban excursion. The smartened tailor is smiling on his wife and declaring: 'O thou wert born to please me, my life, my only dear!' The lady, who is advancing in life, replies: 'Ay, now you look a little stylish; you are a charming man. Who would not be married!'

_Autumn_ sets in more stormily; the lady, developing into a virago, is accusing her husband of receiving letters of a tender nature; the tailor, in reply, is making a counter-charge, relative to 'Mr. Dip, the dyer, and gallivanting to White Conduit House.'

_Winter_ sees the late couple seated at either side of a lawyer's table; the man of law is reading the articles of separation, to the delight of the Thimbles. Mrs. Tabitha declares she never felt so comfortable in all her life; and Jerry Thimble is exclaiming: 'O blessed day! I hope to pass the next year in peace and quietness!'

_September 20, 1814._ _Joanna Southcott, the Prophetess, Excommunicating the Bishops. 'Know I told thee I should begin at the Sanctuary. I will cut them all off,' having already cut off four Bishops for refusing to hear of my Visitation._ Published by T. Tegg (341).--Rowlandson availed himself of the novel religious fever which had its rise in the fictitious revelations of the so-called Prophetess, Joanna Southcott, to ridicule both the believers in latter day miracles and the members of the Establishment conjointly. One specimen of the caricatures produced on this occasion will suffice. Joanna Southcott and one of her champions are making a terrific charge on the flying pillars of the Episcopacy. The Bishops are endeavouring to kick against the onslaught, and, with mitre, wig, and crozier, are defying their chastisers; but their courage is feeble, their ranks are breaking, and they are running off discomfited to save themselves from the coming wrath, without taking any heed of the overthrown. The Prophetess, wearing her famous seal round her neck, and clad in _Elijah's mantle_, is lustily wielding a birch rod; she has caught a fugitive Archbishop by the foot, and he is vainly struggling to escape corporal correction. The 'Third Book of Wonders' is open at her feet. Her exertions are supported by a certain Rev. Roger Towzer, who is chastising the disorganised heads of the Established Church with his _Flail_; certain supernatural creatures, with flaming torches and stings and claws, are harassing the runaways. The Prophetess is very earnest in the work: 'Lay it on, hip and thigh, brave Towzer; smite the unbelievers. I put no more trust in Bishops as men than I do in their chariots and horses, but my trust is in the Lord of Hosts.' Her reverend follower is bruising away vigorously: 'I'll well dust their woolsacks and make them drunk in my fury. I will bring down their strength to the earth!' A strong-chest, in the rear, is labelled _Contents of the Sealing; the Sealed, the Elect, to inherit the Tree of Life_, &c.

1814 (?). _Rural Sports. Buck Hunting._ Rowlandson del. Published by T. Tegg.--Buck-hunting, as a figurative sport, seems, if we may believe the print, to be attended with certain difficulties. An antiquated gentleman, who in the present case seems to be the hunter, is brought up abruptly, in full view of the quarry, by a river, which he has no apparent means of crossing. The game in view, a military buck, is 'run to ground' in a summer-house, on the opposite side of the water, where, in spite of a warning-board about _Man-traps_, he is visibly poaching on the hunter's preserves.

1815.

_January 1, 1815._ _Female Politicians._ Published by T. Tegg. Woodward del., Rowlandson sculp.--The fair members of a well-to-do family are seated at table. The elder is reading the news of the Corsican's last outrages: 'They write from Hanover that when Boneyparte took possession of that country he ravished all the women.' 'Oh, the wretch!' cries an old maid. A less antiquated lady is giving her fair neighbour the comforting assurance, 'It's very true, ma'am: it's only a word and a blow with him; your honour or your property.' 'Well, ma'am,' declares a buxom creature, 'if he should come here, at all events I'll take care of my property.' To which a budding maiden is adding, 'So will I, mamma.'

_March 1, 1815._ _Breaking up of the Blue Stocking Club._ Published by T. Tegg (343).--The dissolution of this assembly is marked by a certain amount of animosity and fury. The learned ladies are engaging in pairs, and the subject under discussion is handled with more zeal than discretion, the arguments employed being chiefly forcible. The _Blue Stockings_ are sadly mauled; garments and hair are alike torn and dishevelled. The table, the tea equipage, and the president's armchair have all come to grief; one fair and fierce debater is trying to impress her opponent with the kettle-stand, another has floored her adversary, and is pouring forth the boiling contents of the urn over a prostrate foe. Nails, fists, and feet are alike set to work; but the favourite method of attack seems to be a firm purchase of the enemy's tresses. Cats are leaping about in dismay, and the whole tableau is one of unrestrained ferocity and recklessness.

_March 1, 1815._ _Defrauding the Customs, or Shipping Goods not Fairly Entered._ Rowlandson del. Published by T. Tegg (344).--A scene of violence, since a pair of strapping damsels, the pride of their friends, are being carried off bodily, whether they will or no, by two naval officers, whose sailors are waiting by the shore, with a boat put to sea in readiness to bear them, and their abducted charges, off to a ship which is seen at a distance. These unprincipled marauders have made an attack, in broad daylight, on the two biggest and most handsome scholars of _Mrs. Crostich's boarding-school for young ladies_, while the remainder of the tender flock are taking their walks abroad, with the dame at their head. But neither the vigorous efforts of the schoolmistress, nor the exertions of an old gentleman, who has been knocked over in the escape, and is sprawling powerless like a turtle, nor the efforts of a dog which is worrying the retreat of the fugitives, seem likely to hinder the accomplishment of their flight or to prevent the successful completion of their lawless designs.

_March 1, 1815._ _Hodge's Explanation of a Hundred Magistrates._ Published by T. Tegg (347).--Hodge, 'a poor honest country lout, not overstocked with learning,' has been brought before the bench on some charge or another. The smock-frocked rustic, cap in hand, is scratching his tow-like locks and questioning the fairness of the tribunal. 'How,' cries the chairman, energetically thumping away at the table in his indignation, 'how dare you, fellow, say it is unfair to bring you before one hundred magistrates, when you see there are but three of us?' In reply to which Hodge is posing his interrogator: 'Why, please your worship, you mun know when I went to school they taught I that a one and two noughts stood for a hundred; so, do you see, your worship be one, and the other two be cyphers!'

_March 1, 1815._ _Sailors Drinking the Tunbridge Waters._ Published by T. Tegg (242).--The artist has sketched the old drinking-well at Tunbridge; a body of sailors, true British tars, find themselves, by some queer chance, which is totally unexplained, at the well-known watering-place, and, what is more mysterious, these sons of Neptune are in close proximity to the Springs. A comely, well-favoured, and smartly attired young damsel, the ministering nymph of the fountain--which, in this instance, it must be confessed, closely resembles a pump--is presenting a tumbler of the fluid, drawn by her own fair hands, to a sturdy ancient coxswain, impressing on the weather-beaten salt, 'Be assured it is an excellent beverage for gentlemen who have been a long time at sea.' The ancient mariner, in recalling the effects which the waters had on 'our Poll,' and remembering his own personal interior sufferings in the Mediterranean, is reluctant to rush into unknown dangers: 'Why, lookee, ma'am, I don't wish to be unpolite, but, if your ladyship's honour pleases, I'd rather hang fire a bit.' Another hardy tar is grappling with the distasteful difficulty and making frightful attempts to swallow the contents of his tumbler; but a good proportion of the water is spilt on the ground, while he is pronouncing the stuff 'Dashed queer tipple, to be sure!' Another smart sailor has his tumbler all safe in his keeping; but he is bribing a diminutive native, who is complacently staring at the prospective drinker, to run and fetch something to qualify the cup. 'Hark'ee, young two-shoes, go and get me a pint of half-and-half and a squeeze of lemon, for darn me if I could drink it neat if I was never to weigh anchor again.'

_March 13, 1815._ _A Lamentable Case of a Juryman._ Published by T. Tegg (Nos. 220 and 347).

_April 7, 1815._ _The Flight of Buonaparte from Hell-Bay._ Published by R. Ackermann.--We find the anticipations offered in the caricatures of the previous year completely upset by Napoleon's unexpected return. The method of the Corsican's evasion is treated figuratively; in place of the Isle of Elba he is supposed to have escaped from the clutches of the evil one and out of the depths of the infernal regions. The foul fiend, _Old Scratch_, is represented in person, amusing himself by letting his captive loose to work fresh mischief in the world above. A diabolic armchair of serpents is planted beside the fiery lake, and for pastime Satan is toying with a pipe and blowing air-bubbles, while an attendant imp is holding a saucer of suds. The Corsican has been mounted on a bubble blown by the tempter, and then sent careering back to earth; hissing dragons, and serpents of supernatural species, are hissing forth flames and blasts of fury, which are serving as winds to waft the bubble upwards, while the sulphurous fumes are inspiring the rider with a frantic thirst for vengeance.

_April 8, 1815._ _Hell Hounds Rallying round the Idol of France._ Published by R. Ackermann.--The enthusiasm with which the return of 'Boney' was hailed, from his landing in France till his arrival in the capital, and the devoted reception he encountered from his old followers, are made the subjects of more than one travesty. In the present case the head and bust of the Emperor, on a colossal scale--his throat encircled by a hangman's noose--is elevated on an immense pyramid of human heads, his decapitated victims; a brace of demons are flying through the air to encircle the brow of this apostle of freedom with a crown of blazing pitch. A ring of excited demons, with horns, claws, hoofs, and tails, but bearing the heads and faces of Napoleon's supporters, are dancing in triumph round the idol they have replaced. From labels attached to the ropes which surround the throttles of these enthusiastic Bonapartists we discover the so-called 'Hell Hounds' to be Marshals Ney, Lefebre, Davoust, Vandamme, Savery, Caulincourt, with Fouché, and others. The old slaughters have recommenced; towns are committed to the flames, English goods are once more destroyed, and heaped around are soldiers, some dead and others wounded, to serve the cause of a rapacious ambition which had drained the blood of France for years.

1815. _Vive le Roi! Vive l'Empereur! Vive le Diable! French Constancy and French Integrity._--As might have been foreseen, Napoleon's old ascendency over the French army asserted itself more strongly than ever; the intermediate state of things and the humiliations to which the country was unavoidably forced to submit during the process of restoring the stolen property and possessions to the rightful owners had increased the national animosity with which the troops and the people continued to regard the foreign invaders, friends, allies, and upholders of _Louis le Desiré_. The more martial spirits, wearied of a restoration with which France felt no sympathy, began to languish for the presence of their great captain, under whose military empire their laurels had been won. The fickleness and instability of the Gallic race are set forth in the present caricature. A trooper has abjured his allegiance to the Bourbons, and is hailing his Corporal with a pinch from his snuffbox; his hat is still garnished with the white cockade, _Vive le Roi!_ above it is a red one, _Vive le Diable!_ and, on the other side, the famous tricolor, and _Vive l'Empereur!_ _French Constancy_ is illustrated in these interchanged emblems. _French Stability_ appears figuratively likened to the sails of a windmill; as to _French Integrity_, the emblems of a monkey and cat, kissing and fondling, pictorially sets forth the 'union between the National Guard and the troops of the line.'

_April 12, 1815._ _Scene in a New Pantomime, to be performed at the Theatre Royal, Paris. With entire new music, dances, dresses, scenery, machinery, &c., &c. The principal characters to be supported by most of the great potentates in Europe. Harlequin by Monsieur Napoleon; Clown by King of Wirtemberg; Pantaloon, Emperor of Austria. To conclude with a comic song, to be sung by the Pope, and a grand chorus by the Crowned Heads. Vivant Rex et Regina._ Published by R. Ackermann.--The wonderful exhibition is taking place in the state rooms of the Tuileries. The great throne is empty, and the sceptre and crown are temporarily laid on the steps waiting for their owner. _Presto!_ and in flies Harlequin Bonaparte, pursued at once by all the Powers of Europe, tumbling over one another in confusion, but all armed and aiming at the nimble sprite, who had given them so much trouble to capture and secure, and who is once more to be chased, caught, and bound down again. Clown Wirtemberg is letting off a brace of pistols; Dutch Mynheer and a Prussian grenadier are discharging their blunderbusses; Austria, as Pantaloon, is too startled to be effective; the Cossack is giving the fugitive a prod with his long lance; the King of Spain has drawn the sword and aimed such a blow that it has capsized the swordsman and shaken off his crown; the Pope is armed with an axe; and all the other potentates are crowding in, an irregular mob. The portrait of the Empress, as Columbine, is being taken off the walls. As to the Harlequin, his eye looks dangerous; a dagger is held in either hand-he evidently means mischief; one tiger-like spring, and he has eluded all his pursuers, and the blows they are intending for him recoil on themselves. The portrait of Louis the Eighteenth is in the pathway for which he is making, and the nimble Corsican, in his character of Harlequin, is jumping clean through the huge paunch of the tranquil Bourbon and regaining the security of his old strongholds.

_April 16, 1815._ _The Corsican and his Blood Hounds at the Window of the Tuileries, looking over Paris._ Published by R. Ackermann.--Boney, on his arrival in Paris, proceeded to his old quarters in the Tuileries, whence Louis the Eighteenth had but just departed. Napoleon, in spite of his fatigue--for he had barely rested since his landing--sat up all night, concerting fresh measures with his supporters; and in the morning he held a grand review in the Champ de Mars, where his presence excited the most frantic demonstrations of fidelity. France showed herself intoxicated with joy at the chance of receiving back a leader with whom she had, inconsistently enough, parted without expressing much emotion or regret, except so far as the Emperor's more immediate personal adherents were concerned. In the picture we have the streets of Paris represented as being filled with a surging multitude of enthusiasts, while standards, eagles, and heads of enemies are held up on pikes, by the wilder fanatics, as signs of encouragement. _Death_ and the _Devil_ are tempting the Corsican from the balcony of the Tuileries; in 'return for more horrors,' and in exchange for 'death and destruction,' all that he sees is offered the conqueror. The bony skeleton is pointing out the bargain with his dart; but Time's hourglass is standing unperceived at Napoleon's side and the sand is running forth. The figure of the Devil is resting his arms fraternally on the shoulders of Boney and Marshal Ney and drawing them into an ill-starred embrace. The other marshals and adherents are in the rear; but a marked expression of apprehension is shown on the faces of the entire party, with the exception of the two supernatural visitors, who are grinning at the anticipation of fresh iniquities and increasing deadly horrors, with which they entertain the certain prospect of being gratified by their pet _protégé_.

_May 10, 1815._ _The Carter and the Gipsies._ Published by T. Tegg.

1815. _R. Ackermann's Transparency on the Victory of Waterloo._--The loyal supporters of the Government and that indomitable British nation which had declared '_no surrender_ to the Corsican,' and, either in victory or defeat, had persevered, while their allies were conquered and their subsidies wasted, were rewarded for the 'outpouring of blood and treasure abroad' and the hard times and anxieties at home by finding that at last, after Waterloo, their enemy was at their mercy. Rejoicings, fireworks, and illuminations became the order of the day; and our artist, who had traced the varying career of the dreaded bugbear Boney, now lent his assistance to commemorate his downfall. In Rowlandson's simple allegory Buonaparte, on his white Arab charger, is riding his hardest away from the British pursuit; he has lost his sword, and his crown is shaken off. Wellington, with his sword ready to smite, is rapidly coming up with the fugitive, whose flight, however, is unexpectedly brought to an end by finding old Blucher, on his sturdy charger, drawn up across the very path he is taking. The redoubtable veteran is discharging a huge blunderbuss full in the face of the common enemy. Incidents in the pursuit of the routed French legions are slightly indicated in the background, and a flight of certain gilded birds are scurrying out of the dangerous vicinity.

_July 28, 1815._ _Boney's Trial, Sentence, and Dying Speech, or Europe's Injuries Revenged._--Napoleon is arraigned, as a criminal at the bar, before the Court of Europe and a crowded tribunal; the seat of chief judge is occupied by Prince Blucher, and the assembled potentates are seated on the bench, wearing their recovered crowns, which the prisoner, in his various triumphs, had so often caused to tremble and, in some cases, had carried off completely. The kings, it is true, do not make an imposing spectacle; with the exception of the Emperor Alexander, who is seated beside the Prince Regent, they still seem to look upon the lately dreaded foe with trepidation. The occupants of the court and the lawyers are regarding the criminal under sentence with abhorrence; a _posse_ of tipstaves are drawn up below the prisoner's bar; and Napoleon, who is trying to move the compassion of his hearers by hypocritical humility, has a friend at his back, who is ready to seize his bond--the Black Fiend is his unseen attendant prompter in person. Old Blucher, clad in his field-marshal's uniform, with the addition of a judge's wig, is standing up, and, with emphatic gestures, is pointing to the act of accusation set forth at length on a screen in the court: 'Napoleon Bonaparte, the first and last by the wrath of Heaven, ex-Emperor of the Jacobins, and Head-Runner of Runaways, stands indicted: 1. For the murder of Captain Wright in the Temple, at Paris. 2. For the murder of the Duke D'Enghien, Pichegru, and Georges. 3. For the murder of Palm, Hofer, &c., &c. 4. For the murder of the twelve inhabitants of Moscow. 5. For innumerable robberies committed on all nations in Christendom and elsewhere. 6. For bigamy; and lastly for returning from transportation and setting the world in an uproar.' The inflexible judge is hurling forth his condemnation: 'You, Nap Bonaparte, being found guilty of all these crimes, it is fallen to my lot to pronounce sentence of death on you. You are to be hung by the neck for one hour till you are _dead, dead, dead_, and your body to be chained to a millstone and sunk in the sea at Torbay.' The fallen Emperor is naturally much moved at this final judgment, and he is interceding for a respite: 'Oh, cruel Blucher! oh, cruel Wellington! it is you that have brought me to this end. Oh, magnanimous Emperors, Kings, and Princes, intercede for me and spare my life, and give me time to atone for all my sins. My son, Napoleon the Second, will reward you for mercy shown me!'

_November, 1815._ _Transparency Exhibited at R. Ackermann's, in the Strand, on November 27, 1815, the day on which the General Peace was celebrated in London._--As all England was exerting itself to display its loyalty and the universal delight occasioned by the conclusion of the Continental wars, Rowlandson contributed a characteristic cartoon, which appeared, like its predecessors, outside the Repository of Arts, allegorically commemorating the downfall of 'Boney' and the second restoration of the legitimate reigning house. The design of this transparency was arranged in the form of a monument, capped by a throne; at the base is a trophy; the Prince of Wales's plume is waving above two gilt tablets, inscribed with the names of the two victorious generals, Wellington and Blucher, and surrounded by pieces of dismounted artillery and groups of standards, with the Union Jack and the Russian and Prussian flags in front. Above this group is a base, inscribed, 'Peace throughout Europe,' with a tablet, '_Charlemagne, Nassau, Capet, Bourbon_,' and two wreaths, dedicated to '_Humanity_' and '_Justice_.' Upon this platform a canopy is raised aloft, festooned above the throne of St. Louis, with the restored crown; a serpent, emblematic of eternity, and the three doves; the front of the seat is supported by bundles of fasces, with double axes, and classic wreaths and lyres. A flight of steps mounts up to the throne on either side. On the right is Wellington, supporting Louis XVIII., restored to his rights; his train are following the ascent of their sovereign, and the figure of _Justice_ is floating on the clouds above the monarch's head. _Fame_ is blowing her trumpet on the other side; while Bonaparte and his baffled supporters are effecting a rapid descent by the left-hand staircase; Blucher, standing on the top step, is making their defeat secure by a discharge from his huge blunderbuss. Bodies of the Allied troops are drawn up at the base; on the right a group of Cossacks, with Prussian and English cavalry; on the left is a gathering of the various foot-soldiers. A sturdy Highlander is putting the finishing stroke to a discomfited plotting Bonapartist with his bayonet, and summarily stamping out Imperialist intriguers.

_July 14, 1815._ _Easter Monday, or the Cockney Hunt._--Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi. In clearing a gate, after the hounds, a little antiquated sportsman has missed his seat and is going over his horse's ears; behind him is a dashing Diana, who is spurring her horse over the palings of a park in gallant style.

_November 16, 1815._ _My Ass._ Designed and etched by T. Rowlandson. Written by Mr. J. Tedir. Published by I. Sidebotham, 96 Strand.--The adventures of a hawker of vegetables and her faithful donkey, depicted in a series of six cuts, illustrating the invaluable qualities of the quadruped. The composition commences thus:--

Who followed me through street and lane, In spite of hurricane and rain; While I my daily bread did gain? My Ass.

The other verses being in the same strain.

1815. _Measuring Substitutes for the Army of Reserve._--In 1815, owing to the French wars, soldiers were necessarily at a premium; and, from an advertisement in the justices' room, where the substitutes are being measured, we learn that the bounty was fixed at 30_l._ per man. Those great functionaries, a country justice and his clerk, appear seated in state, to warrant the proceedings. A commanding officer and his sergeant are labouring prodigiously, for the needs of the service, to force certain stunted and misshapen rustics, who have been enlisted to serve their country, up to the military standard. Further relays of ungainly 'chawbacons' are waiting their turn without.

1815. _A Journeyman Tailor._--A half-clad slave of the thimble is shown squatting on his board in a squalid hovel; his half-starved 'helper' is seated by his side; both are pressing garments with hot irons, and a rough and ragged urchin is heating a further supply of the article known as 'a tailor's goose' at the grate; while a street hawker, a blowsy Hibernian, is screaming her wares (cucumbers and cabbages) in at the doorway. This picture bears some resemblance to a caricature published by Rowlandson in 1823, under the title _Hot Goose, Cabbage, and Cucumbers_.

1815. _Neighbours._ Published by T. Tegg (235).--The wooden casements of two windows, which turn on one post connecting the houses, are thrown back, and simultaneously a neat-looking young farmer and a well-favoured young damsel are stooping forward and their lips meeting in a cheerful salute, to the horror and scandal of two elderly witnesses, who are expressing their reprobation at the openness of the proceeding. The young swain at the same moment is trying to hang up a cage, which appropriately contains a pair of cooing doves.

1815 (?). _An Eating-house._

1815 (_about_). _Banditti._--The occupants of the house attacked, confined to the female members, are sleeping, without suspicion of the danger which is to surprise them. A band of ill-favoured and repulsive-featured freebooters, provided with a miscellaneous armoury of slaughterous-looking weapons, are stealing in on deadly mischief bent. The scene is dramatic.

1815. _Virtue in Danger._

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

An old boy who has ventured unprotected--beyond the guardianship of an umbrella which bears a family resemblance to the holder--amidst the dangers of the wicked town, is forcibly taken possession of by two shameless nymphs; one is stealing his money, while the other is helping herself to his watch. The elderly and corpulent stranger is too astonished at this barefaced iniquity to offer the feeblest resistance. The night watchman is going his rounds, and enjoying a laugh at the expense of the victim; this trustworthy guardian of the streets is too evidently a confederate of the predative fair, and is personally interested in the plunder.

1815 (?). _An Unexpected Return, or a Snip in Danger._

1815 (?). _A Musical Doctor and his Scholars._

1815 (?). _Slap-bang Shop._--The interior of an eating-house in the city. A tall, well-formed, and comely waitress is bringing in the dinner of a wicked old reprobate, who is leering his admiration of her personal attractions. All the venerable sinners, amateurs of female loveliness, shown taking their meals in the various boxes, are turning their heads to gloat over the charms of this favoured handmaiden, who is followed by a 'help' carrying pots of beer for the various customers.

1815. _Jack Tar admiring the Female Sex._

1815. _Accidents will Happen._--This, and the following subjects, to the number of half-a-dozen, are selected from prints in some degree pirated from Rowlandson, and, although bearing his name in the corner, in many instances the incidents of well-known caricatures have been altered, and prints have been issued, engraved in an inferior style, as new caricatures. The principal of these adaptations, or poor renderings of drawings, were published by Marks. _Accidents will Happen_ introduces a cellar incident. A maid has begun to descend the stairs to draw some beer, and has come to grief, probably from fright, as files of scared rats are scampering away, and a cat is tearing up the wall, while a mischievous monkey has broken loose from his chain. The shock has caused the damsel to lose her balance, her pitcher is broken, and she is sprawling in an attitude which has astonished her master, who, candle in hand, is coming down the winding stairs of the cellar to survey the scene of the disaster.

1815. _Sympathy._--This emotion is rendered in the feelings of a stern functionary, evoked in favour of a lady in Bridewell, who is being led out of the cells by the warder to be flogged, a punishment which, it would seem, had not been abolished in Rowlandson's day. The eye of the coarse and elephantine jailer is gloating over the fair back of the unfortunate criminal, laid bare for the application of the cat.

1815. _Despatch, or Jack preparing for Sea._--Jack Tar is making the most of his opportunities on shore; he is surrounded by the delights which constitute the sailor's elysium; punch and grog galore, a brace of fiddlers, and a bevy of beauties, florid Pollies of Portsmouth, towards whom he is making tipsy demonstrations of affection. In those days, when prize-money fell in golden showers, the valiant sea-dogs who defended our shores, and made John Bull's name redoubtable on the ocean, were able to command, in their short intervals on shore, luxuries after their own hearts, for which, after the dangers and hardships of active service, they threw away their 'yellow boys' with the recklessness which characterised their habits, and proved a rich harvest to the plunderers who were on the watch for seamen just 'paid off.'

1815. _Deadly Lively._--The coarse humours of a spirit-cellar are served up with a tragic accompaniment. A young female is stretched incapable and asleep, sunk in all the degradation of dead drunkenness. A man who is no longer master of himself is raising his tumbler, with a tipsy desire to have it replenished. The apparition of King Death, bony, frightful, and sinister, is grinning over the back of the soddened tippler's chair, recruiting his legions from a fruitful source; he is supplying the rummer of the drunken wretch from his own vial, little more fatal than the fluid which is debasing and deadening its victims around. A stout woman, also sinking into tipsy apathy, is roused by the shock of finding the king of terrors added to the company; she is thrown off her balance with a start, and, falling backwards on the stone floor of the vault, she will probably break her neck--as the artist's intention seems to hint--and furnish Death with another customer.

1815. _The Fort._

1815. (Officer.) _The Military Adventures of Johnny Newcome, with an account of his Campaigns in the Peninsula, and in Pall Mall, with sketches by Rowlandson and notes by an Officer._ London: Printed for Patrick Martin, 198 Oxford Street. 8vo.

He jests at scars who never felt a wound.--SHAKESPEARE.

Frontispiece.--Johnny Newcome starting to join his Regiment. Johnny Newcome going to lay in stock. A Bad Billet. Taking his Breakfast. Introduced to his Colonel. Smells Powder for the first time. Johnny writes an Account of the action to his mother, which afterwards appears in the _Star_. Half Rations. Learning to Smoke and drink Grog. Poor Johnny on the sick list. Going sick to the rear. Johnny safe returned to his Mamma. Made an A.D.C. 'Dash'd with his suite for Santarem that night.' Johnny on duty with his chief. Presenting the Trophies (taken from Joseph Buonaparte) to the Prince Regent.

1815. _The Grand Master, or Adventures of Qui Hi in Hindostan. A Hudibrastic Poem in eight Cantos by Quiz. Illustrated with twenty-eight engravings by Rowlandson._ Plates dated October 1, 1815. (Quiz fecit, Rowlandson sc.) London: Printed by T. Tegg. The intention of this work seems an attempt to hold up the Governor-General (the Marquis of Hastings) to opprobrium, but whether deserved or not, Europeans have small chance of judging.

Frontispiece.--A new Map of India from the latest authority. The Governor-General (Marquis of Hastings) and his Council (Imbecility) mounted on an Elephant. Tusks (marked Monopoly and Ambition) fettered by Restrictions (Board of Control and House of Commons) &c. Titlepage.--The End of the Pagoda Tree, and the ultimate fate of the Viceroy and his Council, &c. &c. A Scene in the Channel. The Modern Idol Juggernaut. Miseries of the First of the Month. The Burning System Illustrated. Missionary Influence, or how to make Converts. An Extraordinary Eclipse. Labour in vain, or his Reverence Confounded. Hindoo Prejudices. John Bull Converting the Indians. More Incantations, or a Journey to the Interior. (Nepaul War). Miseries in India. (Insects.) The Bear and Ragged Staff. (Viceroy and Council as Idols.) Hindoo Incantations. A View in Elephanta.

The Guide declar'd that often here, Things supernatural appear; To prove it he produc'd a book, From which Qui Hi a drawing took, Of which the modern true translation, Is simply 'Hindoo Incantation.' It states that _some one_, years ago, Had tried futurity to know, And he employed an old Hindoo, To get him but a single view Of future things--and lo! an hour Was fixed to show the Brahmin's pow'r, The place appointed was the spot Where Qui Hi and his friends had got, Under Great _Brahma's triple head_, That then struck unbelievers dead. The Brahmin, when the Ghurry's sound Told _one_, was with the idol found, Soliciting he would assert His power, and infidels convert. The stranger now approach'd the place, With terror pictur'd in his face. 'Infidel!' said the Brahmin, 'now I shall observe my sacred vow. Come hither, and you'll shortly see And tremble at _futurity_!' Seating the man, he now applies A magic glass before his eyes; When, lo! the Elephanta shook, And Brahma thus in thunder spoke-- 'Mark, reptile! the decrees of Fate, Which, _Brahma says_, he will complete: Till then your destiny await!' He said, and, with a stroke of thunder, The sacred temple bursts asunder; Seizes the caitiff by the hair, And hurls him headlong thro' the air. He tumbled down to whence he came, _Somewhere_ about the Hooghly stream.

Phantasmagoria. A View in Elephanta. The Modern Phaeton, or the Hooghly in danger. Qui Hi arrives at the Bunder Head. Qui Hi in the Bombay Tavern. Pays a Nocturnal Visit to Dungaree. Attends General Koir Wig's Levee. Qui Hi's Introduction and cool Reception. Qui Hi shows off at the Bobbery Hunt. Qui Hi at Bobbery Hall. All alive in the Chokee. Last Visit from the Doctor's Assistant. Qui Hi's last March to Padree Burrows's Go Down. Strange Figures _near_ the Cave of Elephanta, 1814. _Auspicio Regis, et Senatus Angliæ._

_June 1, 1815._ _Naples and the Campagna Felice, in a series of letters (by Lewis Engelbach). With Illustrations by Rowlandson, &c._ 8vo. Published by R. Ackermann, 101 Strand. (Reprinted from Repository of Arts, 1810-13.)

Frontispiece.--The Colonel (Don Luigi) awakened from a sleeping _tête-à-tête_ by a serenade from his fair, and lately unconscious, companion.

Se tanto a me piace Si rara beltà; Io perdero la pace, Quando si sveglerà.

If, while entranced in balmy rest, His charms can give such pain; When he awakes, my wounded breast Will ne'er know peace again.

Don Luigi's baggage seized by four Lazzaroni. Ancient Greek Paintings from Herculaneum: Ariadne, Bacchante and Satyr, &c. Don Luigi meets Donna Anna in the Museum. Ancient Greek Paintings from Herculaneum: Centaurs, Chiron teaching Achilles to play the lyre, &c. Sleeping _tête-à-tête_ at a first visit of Don Luigi. Don Michele getting up the ship's side. Don Luigi's Ball. A Bacchanalian Scene at Don Luigi's Ball. Don Michele preparing for his Triumphal Expedition. The Letter Writer, Naples.

_The Letter Writer._--'On our way to the mole we had some difficulty in passing through a crowd of people, who, with great eagerness, and with Neapolitan clamour, had assembled round a man, sitting with pen and ink before a frail table, busily employed in committing to paper the crude thoughts of a country clown in the attitude of dictating to him; for the noise was too loud to hear what was going forward. A board above the head of the engrosser proclaimed his calling: '_Qui si fanno memoriali, lettere, ed altre scritture, nel ottimo stilo moderno._' (Here are drawn up memorials, letters, and other writings, in the best modern style.) Ever eager to seize any opportunity of observing the manners and national character of a people whom I have every reason to think better of than some of our superficial magpie-tourists, I pressed forward to obtain a nearer view of the transactions of this universal secretary, when my companion, Don Michele, pulling me back by the skirt of my coat, begged I would not demean myself by thus mixing with the vulgar.

* * * * *

'The composer of letters was just receiving from an elderly woman the sum of six _grani_ (about threepence) for an epistle he had indited to her son at _Bari_; after which a farmer, next in rotation, was admitted into presence. His business appeared to be on secret service, for the corresponding oracle politely requested some of the more curious auditors to step a little aside. At first, indeed, the farmer's instructions were conveyed in a whisper; but as a Neapolitan loves dearly to talk as loud as his lungs will let him, and to accompany his sermocinations with the most expressive gestures, it soon became less difficult to discover that the subject under present consideration was a horse which had been sold to a cavalry officer, and for which a balance was still owing; the prompt payment whereof was to be peremptorily insisted on by a respectful dun. As soon as a period was happily brought to paper, it was read over to the listening clodhopper, who, in a manner, beat time to the emphatic and rhythmical reading of the professor by periodical nods of the head, and at the end of the sentence expressed his astonishment at the sagacity with which his obscure ideas had been caught up and classified. This literary production, owing probably to the importance of the subject, was disposed of for the valuable consideration of eight _grani_ (fourpence), paper included; and its possessor, with inward satisfaction, left the oracular tripod, in order to make room for a Turkish captain of a _polacca_, whose literary necessities consisted in a memorial claiming the restitution of some goods illegally seized.... When the document was ready for signature, _Ibrahim Reis_, who could neither read nor write, was desired to make his _cross_ at foot, which he refused with religious abhorrence; but, dipping his little finger into the inkstand, imprinted on the paper a correct facsimile of the tortuous furrows of his cuticle by way of signet. To my great surprise, this state paper was valued at no more than one carlin (fivepence), although engrossed on a folio page and decorated with some fancifully flourished initials.

'The Turk no sooner discharged his literary debt than a well-dressed young lass gained his place. (This interview is pictured forth in the artist's illustration.) The despatch, however, which was to be written for her, must have been on secret and confidential service, for the instructions she gave to the engrosser were communicated in so low a whisper that, from my observatory, the scene appeared one of purely pantomimical action. When I relate that the time employed by this universal author in the production of the farmer's dun and the Turk's memorial did not exceed half an hour, and that the contents, although somewhat fustian, were very much to the purpose, you will agree with me that Signor Bucatelli possessed talents far above his station. Indeed, Don Matteo assured me that he was as good a poet as an epistolary writer, and that his sonnets on any particular occasion, such as for a wedding, a birthday, &c., may be obtained on the shortest notice, and at equally reasonable rates; in short, that he could wield his pen on any subject whatsoever.

'To a publisher in England a man like Signor Bucatelli would be an invaluable treasure, a host within himself, by the versatility of his genius and the despatch of his literary labours: his charges of _authorship_, as you have seen, are consonant with the modesty of true genius. His elevated style of writing (truly _nel ottimo stilo moderno_) would soon render him a most popular author with us. I was just going to step down to give him the substance of a poetical epistle as a specimen of his abilities, when a little girl brought him a small dish of stewed Windsor beans, a large raw cucumber, and a crust of bread. This frugal fare, and a glass of iced water from the neighbouring stall, well calculated to preserve his intellectual powers unclogged, Don Matteo informed me, was the whole of his dinner; which, together with a cigar by way of dessert, interrupted his official duties for about half an hour, after which, if matters of pressing service remained to be despatched, he would resume his quill, and suspend his _siesta_, or afternoon nap, to a late hour of the day.'

_Don Luigi's Ball._--Before leaving his apartments on the _Infrescata_ the writer was anxious, as a slight return for the kindness of his host and the hospitalities he had received in Naples, to give a dance to a few friends of his own and of his entertainer, his host and friend Don Michele undertaking the entire responsibilities of inviting the guests, ordering refreshments, decorating the chambers, and other preliminaries.

'"First, as to the company," reports the Don, "there will be ten couples, besides our family and odd ones, if they all come, of which there is little doubt; and what is more, _gente di garbo_ (people of quality), such as you might suppose my friends to be. Three or four will come in their own carriages; and some of the lasses will show you what is called dancing at Naples. Care, too, has been taken that they should not want for good music; you will have, Signor Don Luigi, the first oboe of St. Carlo, two excellent violins, a flute, tenor, and violoncel; my son will play the tambarine."

'"Six musicians, Don Michele, for this little dance! Why, that's out of all reason. Half the number----"

'"Are _hired_; and the others, gentlemen high in the profession, who for _my_ sake have promised to assist as friends at your party. Money, of course, is out of the question. You see, good sir, Don Michele can command a thing or two. As many more would have come if I had asked them, but these will be sufficient to begin the evening with a little concert; my friend will give you a concerto on the oboe; one of the ladies will sing a _scena_ from an opera, to which we may add a duet or two; and at ten o'clock the dance shall begin. As to the refreshments, I have almost run my legs off to get you the rum (the ladies were to be treated with ice punch, as a rarity). Seventy ices are ordered, cakes and sweetmeats as you desired, and a friend of mine will lend us a dozen of wall chandeliers." These lights, connected with festoons of artificial flowers, and a number of pots of flowers exhaling their fragrance over the rooms, gave the place an elegant appearance.

'The musicians arrived in good time, and the company dropped in fast after eight o'clock. To receive such a number of strange faces appropriately was a most irksome task,' continues the writer; 'but it was alleviated by the sight of many a good-looking young lass, and two or three real beauties, and one especially, Donna Carlina. My English friends from the city, and the lieutenant and doctor from the frigate, likewise made their appearance in due time; and healthily as their countenances shone forth, and well-dressed as they were, they greatly eclipsed my Neapolitan bucks, and found much grace among the ladies. I could not help remarking the contrast of manners between two Christian countries. In a more northern latitude, persons coming to the party of a perfect stranger would have conducted themselves with that cautious, anti-social reserve which some people call good manners; some of the ladies would have sat down on their chairs as prim and as stiff as so many hop-poles, cast down their modest looks until spoken to by charity, and then rebuffed a second attempt by a monosyllabic reply, a "Yes, sir," an "Indeed, sir?" a "You are very good, sir," &c. Now I will just tell you how matters went on in the _Infrescata_. Monstrous bows and introductory compliments: this over, all these people seemed as though they had been twenty times in my company.' The Don describes the improvised introductory concert, at which nearly all the company assisted, the Neapolitans having a natural taste for melody, and most of them being fair musicians; the entertainer next gave orders to prepare for the dance, and to hand refreshments in the interval.

'My punch,' he continues, 'found much favour with all present, the ladies not excepted, who emptied their glasses as rapidly as if it had been lemonade. Although not dancing, I was fully employed in another way. With all our windows open, the strains of my numerous orchestra propagated their sound over the whole neighbourhood, some of whose inhabitants, impelled by the attraction of sweet sounds, could not resist favouring me with their company. The circumstance of their not being invited to the feast appeared to them a mere trifle not worthy of their attention; and an extraordinary celerity in decorating their exterior (which is all the essential part of a Neapolitan's full dress), would soon enable them to appear in company with Neapolitan decency. To my great surprise, therefore, Don Michele and I had to receive, from time to time, an influx of these unbidden guests, who in most submissive language begged a thousand pardons for their freedom and intrusion. As Don Michele, my master of the ceremonies, seemed to know them all, and, moreover, as I could neither help their coming, nor, when once arrived, turn them out, I thought it best to put a good face on the matter, and receive every one, especially the ladies, with a hearty welcome (as pictured forth in the plate), assigning them places in the adjoining room, where I contrived to form another set of dances; for the number of these parasitical guests soon grew nearly equal to that of my standard company. As my company were now capering away in two of my apartments, I blush to confess that my resolution to keep my toes in a state of quiet quiescence was shaken at last. I could have withstood the pressing solicitations of half-a-dozen of these exhilarated damsels, but for the irresistible temptation of their animated example, and of the excellent music. Fancy the loving smiles, the glistening eyes, the seducing attitudes of these pretty Neapolitan bacchantes, and then ask your conscience how long any Christian, were he even a Quaker or Moravian, could have stood proof against such attraction? The worst of the thing was, that having once broken my vow by dancing with Miss Carlina, a kind of rivalry ensued among the other ladies, most of whom now laid a successive claim to be led down a country dance by _il Signor Colonello_.

'In the course of these pedestrian evolutions I thought I observed in several of my fair partners, cheerful as they had been before, an unusual and extraordinary access of spirits and gaiety; which, with every allowance for the southern latitude and the ice punch (now administered to them the more frugally by reason of the unlooked-for increase in my numbers), I was at a loss to account for, till I saw my man Benedetto whisper something into Don Michele's ear, which the latter telegraphed into mine.

'But before I let you into this secret it is proper that, like a skilful general, I should in my report give a correct description of the localities of the field of battle. The kitchen belonging to my apartments is on the same floor with them, and in this particular the Neapolitan system of domestic architecture is not different from what you may have observed in a set of chambers, or in many old-fashioned mansions in England. Right opposite to the entrance of this kitchen of mine there is an elevated shelf, on which stand (I had better say _stood_) my three wine-bottles, of immense calibre; the first (having been emptied since my stay in the _Infrescata_) then, and now, containing from six to eight gallons of excellent atmospheric air (such as you breathe at this altitude); the second, of similar dimensions, about half full of delicious old _Pozzuoli_ wine; and the third, not less in size, brim-full of the like grape-juice, with its fluid oil-bung floating at the top.

'No sooner did one of the damsels espy the forbidden shelf than the assault thereon was a settled matter: _veni, vidi, bibi_, was the word; and my delicious _Pozzuoli_ wine fell an easy prey to their sacrilegious hands and palate. _Implentur veteris Bacchi_, or, in plain English, mesdames tippled till they had their fill, and what they left was very nearly finished by four or five half-starved footmen and other hall rabble in attendance on their worthy masters; for when Don Michele went into the kitchen he found but a small remnant in one of the bottles, which he secured in his own room.

'Inspired with the juice and further excited by the agitation of dancing, most of my fair guests became still more exhilarated; some grew ecstatically merry, and a few scarcely manageable. Surrounded by these voluptuous "bacchæ," I feared the fate of Orpheus. Their frolics, however, I must say to their credit, were chiefly levelled at Don Michele, probably because he had spoiled the continuation of their sport. The poor man had now to suffer all sorts of mischief for refusing to join in their revels, till at last, for the sake of peace, he consented to dance _one_ minuet, and no more. All was hushed in an instant, when he placed himself with his fortunate partner in the middle of the room, as stiff as buckram and as serious as if he were occupied with the solution of an algebraic problem. But no sooner had he performed the first step or two, than, in turning his body with grave elegance on the pivot of his toe, a pair of white silk garters were seen gracefully dangling down his back, and describing, at every turn of his automaton body, a variety of flowing irregular curves in the circumambient air. The merriment which this unusual sight occasioned, was in vain attempted to be stifled in a muttered titter; it soon burst out with increased violence, his wife not excepted, who heartily joined the general laugh, but informed her better half of the cause of the satisfaction he gave the company. When I learned the extent of the spoliation committed upon my bin, I did not so much regret the actual loss I thereby sustained, as apprehend some unpleasant scenes of interruption to our festivity and mirth from the excessive indulgence in the forbidden juice. However, whether it was owing to the excellence of the vintage, or to strength of constitution in the fair partakers, only one casualty occurred.

'The dawn of morn was the signal for the gradual separation of the company, from all of whom, whether of the establishment or extra guests, I had received in the course of the evening the most pressing requests to make their house my own; and to their credit I must say that, as far as I have yet had time or inclination to try the sincerity of their invitations, I have had no cause to regret my complaisance.

'When I relate that five leaden ice-moulds and eight of the confectioner's pewter spoons were missing, you will scarcely suppose that any of the good things, such as cakes, sweetmeats, &c., were suffered to remain on the sideboard at the departure of my guests. Whether this practice not to "leave a wreck behind" is as general here as in Malta, I am unable to decide. At the latter place, let the provision be ever so abundant, what the stomach cannot compass the pockets are sure to hold, and in stuffing those no great nicety is observed; so the article is portable at all, it finds its way into one or the other of the pedestrian saddle-bags as by instinct. I have been assured by one of our officers that, at a great fête which General Fox recently gave at Malta, one of the inhabitants (of sufficient rank to be of the party) very dexterously, and, as he fancied, unobserved, slipped a small pullet, wrapt in his pocket-handkerchief, into one of his side receptacles. Unfortunately, an officer near him, seeing the sleight-of-hand transaction, poured a dose of parsley and butter after it, saying very coolly, "Allow me, sir, to help you to a little sauce at the same time."'

1815. _The Dance of Death._ With illustrations, 2 vols., royal 8vo. Published by R. Ackermann. (See 1816.)

1816.

_January 10, 1816._ _Exhibition at Bullock's Museum of Bonaparte's Carriage taken at Waterloo._ Published by R. Ackermann, 101 Strand.--Bullock's museum of natural curiosities was the receptacle for most of the novelties introduced to the British public at the close of the eighteenth and the beginning of the nineteenth centuries. It was here that the sight-seer might view the Laplanders with their deer and sledges, the Hottentot Venus, the Polish dwarf, the Irish giant, and other marvels for the curious which happened to hit the capricious taste of the hour. It seems that the relics of the first Napoleon, made familiar enough to our generation at Madame Tussaud's Baker Street Museum, were the chief attractions held out by the earlier Bullock in 1816. The central point of the collection is the Emperor's travelling carriage; ladies are swarming and climbing over the vehicle, being pushed, dragged, and lifted into the inside, on to the driving-box, over the roof, into the boot behind, on the wheels, and, in fact, wherever a foothold can be secured. There is an animated attendance of visitors; the fair sex are particularly distinguishing themselves. Other personal relics of the Corsican are spread about, much as we see them in our day; the bust of the exile is placed by the side of a monkey, an illustration of the prejudice in which Napoleon was held at that period, which, by the way, is not unnatural, considering the exertions which the European bugbear had employed to ruin English commerce and to alienate our possessions abroad.

1816. _Bullock's London Museum, Piccadilly._[26]--'Mr. Bullock, having purchased Bonaparte's carriage of Major von Keller, has here exhibited it. It was taken by him at the entrance of the small town of Jenappe, at eleven o'clock on the night of June 18, 1815. A full account of the carriage and its ingenious contents is to be found in the _Repository of Arts_ for February 1816.'

_March 31, 1816._ _The Attempt to Wash the Blackamoor White. In the Whitehall, City of Laputa._--There is no publisher's name on this plate, and the explanation of the subject, a military scandal, is not so clear as could be desired. An officer, dressed as a hussar, is standing in the centre, while being submitted to the whitewashing process; he wears no sword, and is holding a written defence in one hand. Above his head appears an arm, also belonging to an officer, which is menacing the hussar, who is appealing to his friends: 'O save my honour. Rub away, my friend, rub it _home_. O, 'tis the phantom of a horrid dream.' Another officer, from his uniform apparently in the Guards, is treading on a written 'oath,' and, with a pail of whitewash, is doing his best for the so-called 'Blackamoor,' declaring, 'We'll say nothing about your honour!' Another friend, in a Highland uniform, evidently a person of rank, since he wears a red riband, and has a star on his breast, is trying to obliterate the mark of a kick, which has left an ugly outline of a foot on the white pantaloons of the injured individual, but the impression is ineradicable: 'Deel o' me saul, mon, but the stain of the foot will ne'er come oot.'

1816 (?) _Bostonian Electors of Lancashire._ Published by W. Holland.

1816. _Lady Hamilton at Home, or a Neapolitan Ambassador._--The outline of this subject, which is not without its interest as a contemporary sketch of a celebrated trio, is from an original drawing in the collection of the present writer. There seems some discrepancy about the date, since Sir William Hamilton died in 1803, and the sketch evidently belongs to the latter period of the ambassador's life. Sir William Hamilton, whose collection of antiques formed a valuable addition to the national collection in the British Museum, was, it will be remembered, successful in rendering such services to Admiral Nelson, by his influence with the court of Naples, where he resided as British ambassador, that our naval hero was enabled to refit and victual his fleet entirely, without losing the time which would have been sacrificed in returning to England, and thus contributed in a marked degree to assist Nelson in surprising the French fleet in Aboukir Bay, resulting in the famous victory of the Nile, which first checked the tide of Napoleon's career, crippled the power of France, and finally compelled the armies of the Republic to withdraw from Egypt. Lady Hamilton's exertions with the Queen of Naples, over whom she had gained considerable ascendency, were not without their national importance, although her services were entirely ignored in the lady's last days, at a time when the Government left her without that future provision which Nelson, in falling fighting in his country's cause, and bequeathing her claims as a legacy to the nation, imagined he was securing for the support of his friend, who, it is reported, died in abject poverty, if she did not perish of actual want, as it has been hinted. In Rowlandson's drawing, Lady Hamilton, in classic garb, is watering a plant placed in a classic vase; ancient busts, candelabra, and urns are standing about; the furniture, implements, and accessories are all fashioned after the antique. The caricaturist has taken certain freedoms with the person of the Neapolitan ambassador, and Sir William is travestied as a stout personage, suffering from the gout. Another female figure, also draped after the antique, is touching a lyre, and chanting certain ditties of her own composition; this lady represents Miss Cornelia Knight (an authoress of some repute in her day, whose small notoriety rests on her _Continuation of Rasselas_, and her _Private Life of the Romans_)[27] who travelled in the suite of the ambassador with his lady.

A familiar description of Lady Hamilton and her party occurs in a diary by Mrs. Colonel St. George, written during her sojourn among the German courts, 1799 and 1800, and privately printed. The traveller happened to be stopping in Dresden in October 1800, when Lord Nelson, Sir William Hamilton, Lady Hamilton, her mother Mrs. Cadogan, and the poetess arrived, and were received by Mr. Elliot, the English ambassador.

The portrait of Lady Hamilton is firmly drawn. Mrs. St. George thus describes the famous 'Emma,' of whose features so many admirable paintings exist limned by the hand of Romney. 'Her figure is colossal, but, excepting her feet, well shaped. Her bones are large, and she is exceedingly _embonpoint_. She resembles the bust of Ariadne: the shape of all her features is fine, as is the form of her head, and particularly her ears; her teeth are a little irregular, but tolerably white; her eyes light blue, with a brown spot in one, which, though a defect, takes nothing away from their beauty and expression. Her eyebrows and hair are dark, and her complexion coarse. Her expression is strongly marked, variable, and interesting; her movements in common life ungraceful; her voice loud yet not disagreeable. Sir William is old, infirm, all admiration of his wife, and never spoke to-day but to applaud her. Miss Cornelia Knight seems the decided flatterer of the two, and never opens her mouth but to show forth their praise; and Mrs. Cadogan, Lady Hamilton's mother, is what one might expect. After dinner we had several songs in honour of Lord Nelson, written by Miss Knight, and sung by Lady Hamilton. She puffs the incense full in his face, but he receives it with pleasure, and sniffs it up very cordially.

'_October 7._--Breakfasted with Lady Hamilton, and saw her represent in succession the best statues and paintings extant. She assumes their attitude, expression, and drapery, with great facility, swiftness, and accuracy. Several Indian shawls, a chair, some antique vases, a wreath of roses, a tamborine, and a few children are her whole apparatus. She stands at one end of the room with a strong light on her left, and every other window closed. Her hair is short, dressed like an antique, and her gown a simple calico chemise, very easy, with loose sleeves to the wrists. She disposes of the shawls so as to form Grecian, Turkish, and other drapery, as well as a variety of turbans. Her arrangement of the turbans is absolutely sleight-of-hand, she does it so quickly, so easily, and so well. It is a beautiful performance, amusing to the most ignorant, and highly interesting to the lovers of art. The chief of her imitations are from the antique. Each representation lasts about ten minutes. It is remarkable that, coarse and ungraceful in common life, she becomes highly graceful, and even beautiful, during this performance. After showing her attitudes, she sang, and I accompanied. Her voice is good and very strong, but she is frequently out of tune; her expression strongly marked and various; but she has no flexibility, and no sweetness. She acts her songs.'

1816. _Adventures of Johnny Newcome._ Republished. (See 1815.)

1816. _Relics of a Saint, by Ferdinand._ Frontispiece by Rowlandson, 12mo.

1816. _Rowlandson's World in Miniature, consisting of groups of figures, for the illustration of landscape scenery, drawn and etched by T. Rowlandson. To be completed in eight monthly numbers, price 2s. 6d. each._ London: Published by R. Ackermann, Repository of Arts, 101 Strand.

_Richardson's Show._

_March 1, 1816._ _A Lying-in Visit._

_March 1, 1816._ _A Round Dance._

_March 1, 1816._ _Recruiting._

_April 1, 1816._ _The Ale-house Door._

_July 1, 1816._ _A Landing Place._

_August 1, 1816._ _A Flying Waggon._

_August 1, 1816._ _The Social Day._

_September 1, 1816._ _Rustic Recreations._

1816. _The Relics of a Saint. A Right Merry Tale, by Ferdinand Farquhar._ Frontispiece by T. Rowlandson. London: Printed for T. Tegg, Cheapside.

'Relics!' roar'd Jaconetta, holding both her sides To give her ease, 'Sir, if you please They're only what you gentlemen would call A pair of _Galligaskins_, and that's all.'

1814-1816. _The English Dance of Death._ Published at R. Ackermann's, 101 Strand.--A selection from Rowlandson's famous illustrations to the _Dance of Death_; an ingenious series, quite suited, in spite of the grimness of the performance, to the artist's humour. The publication secured great praise during the designer's lifetime; in point of execution the set leaves nothing to be desired; in regard to picturesque action and easy grouping, the illustrations will bear comparison with any of the artist's works. As in the well-known series by Holbein, Della Bella, &c., Death appears at the most unexpected and inopportune moments, with that stern and ghastly reminder of the futility of human pleasures, successes, and pursuits, of which the most playful satirists have never been able to lose sight.

Death, in Rowlandson's series, displays his acknowledged ubiquity; he knocks without ceremony at everyone's portal, and none can deny him admission. Both artist and author seem to have appreciated the resources of their subject so thoroughly, and have worked out its grotesque spirit with such appropriateness, that the _Dance of Death_ must remain a fitting monument of their genius. A large circulation could hardly be anticipated for a work conceived in this realistically fearful vein. Rowlandson has drawn the various episodes which his invention suggested with a completeness of detail rarely found in his later designs, and the plates are executed with the fulness and attention of finished drawings; the figures are delineated with power and spirit, and the backgrounds are most delicate and suggestive. The impressions are also coloured by hand with a judicious eye to effect and harmony. Combe has worked with a vigour worthy of the occasion; and for wit, point, and felicity we are inclined to believe the versification to the _Dance of Death_ surpasses all his other contributions to literature in this branch. The entire series may be accepted as a work of higher character, in all respects, than its popular predecessors, the better recognised _Tours of Doctor Syntax_; and it is superior, beyond comparison, to the works which followed it.

THE ENGLISH DANCE OF DEATH.

FROM THE DESIGNS OF THOMAS ROWLANDSON.

_With Metrical Illustrations by the Author of 'Doctor Syntax.'_

LONDON: PUBLISHED AT R. ACKERMANN'S REPOSITORY OF ARTS.

Pallida Mors æquo pulsat pede pauperum tabernas Regúmque turres.--Hor. lib. i. od. 4.

With equal pace, impartial Fate Knocks at the palace, as the Cottage Gate.

This series was begun in 1814, and finished in 1816; being issued from the Repository of Arts in monthly parts, like the _Tour of Doctor Syntax_ and successive works.

The circumstances of its publication are set forth by 'the anonymous author' (William Combe) in one of his brief explanatory 'introductions.'

'_The Dance of Death_ is a subject so well known to have employed the talents of distinguished painters in the age of superstition, that little is required to recall it to the recollection of the antiquary, the lover of the arts, and the artist.

'Holbein is more particularly recorded as having employed his pencil upon a work of this kind; but, without entering into a detail of those masters who have treated the subject of the _Dance of Death_, the present object is merely to attract the public attention to the subject itself. Few remains are now visible of the original paintings which represented it, but they have been perpetuated by the more durable skill of the engraver, and the volumes which contain them in the latter form are to be found on the shelves of the learned and curious collector. The subject is the same in them all, but varied according to the fancy of the painters, or perhaps from local circumstances attached to the places which they were respectively intended to decorate. The predominant feature is, without exception, the representation of one or more skeletons, sometimes indeed in grotesque attitudes, and with rather a comic effect, conducting persons of all ranks, conditions, and ages to the tomb.

'Mr. Rowlandson had contemplated the subject with the view of applying it exclusively to the manners, customs, and character of this country. His pencil has accordingly produced the designs, which, in the order they were delivered to me, I have accompanied with metrical illustrations, a mode of proceeding which has been sanctioned by the success of our joint labours in the _Tour of Doctor Syntax_. The first volume, therefore, of the English _Dance of Death_, which has appeared in twelve successive numbers, is now presented to the public in a collected form. The second volume will follow in the same mode of publication. Though the name and tenour of the work is borrowed, it may, perhaps, be allowed some claim to local and characteristic originality. The most serious subject attached to our nature is, indeed, presented with a degree of familiar pleasantry which is not common to it. But in this particular the example of the painters who first suggested and propagated the idea has been followed, and no other vivacity has been displayed in these pages than has been found on the walls of edifices dedicated to religion, and was thus represented in the cloisters of St. Paul's, before the sacrilegious pride of the Protector Somerset caused the dilapidation of that appendage to the metropolitan church of the kingdom. But I am not afraid of being accused by reflecting minds of having introduced an unbecoming levity into the following pages, for that writer may surely claim the approbation of the grave and the good who familiarises the mind with Death by connecting it in any way with the various situations and circumstances of life.

'THE AUTHOR.'

The _Frontispiece_ represents the grim form of the spectral foe, his skeleton frame calmly seated on the globe, his grim jaw resting on his arm, and his elbow on his knees; at his feet is the hourglass he has borrowed from Time; he wears the crown, which indicates his universal sovereignty, and in his grasp is the dart which must touch all humanity in turn, and speed them hence. A pipe and tabor are suspended overhead, and bats are flitting above. Round the effigy of destruction are strewn the means wherewith his ends are wrought. A portly register, '_Death's Dance_,' is open; beside it are the symbolical instruments of his decrees--pistols, bullets, daggers, guns, dice, cards, the executioner's axe, a barrel of gunpowder, compounds, drugs, opium, arsenic, mercury, and the various fatal agencies arrayed against the natural preservation of life.

A vignette on the engraved _Title-page_ further elucidates the uses of Death's pipe and tabor. The grim King is enjoying himself in his own fashion, dancing his rattling bones right merrily to his own music, which he is congenially piping forth in a cemetery; while the fatal hourglass and dart are laid aside upon the slab of a grave. Death's grim legions, the skeleton messengers of his decrees, are dancing fantastic figures with fiendish gaiety among the tombstones, performing ghastly quadrilles sufficient to scare an involuntary beholder out of his senses.

Plate 1. _Time and Death._

Time and Death their thoughts impart, On works of Learning and of Art.

The first scene, which we presume is simply introductory, and that Death and his comrade, old Time, have dropped in unprofessionally or as critics, represents two youthful students of the past. The apartment is surrounded with shelves, loaded with piles of busts and figures of the illustrious dead, the effigies of renowned poets, generals, philosophers, statesmen, and all classes of the community, from the earliest times, being presented indiscriminately. From these memorials the artist is sketching the portrait of a departed worthy. A literary gentleman, of a somewhat conventional type, with an open collar, a flowing dressing-gown, slippers, and general easy looseness of attire, having papers before him, and various manuscripts and ponderous volumes scattered around, is about, with a flourish of his quill, to record his impressions of the past; old Father Time, with his bald crown, and grey beard and spectacles on nose, is leaning on his scythe; while the grim King of Terrors is grinning by his side, curiously peering over the shoulders of the unconscious workers, and suggesting--

The time-worn burden of the song That Life is short--but Art is long.

Plate 2. _The Antiquarian and Death._

Fungus, at length, contrives to get Death's Dart into his Cabinet.

The second plate introduces us to the apartment of an elderly antiquary, who, nightcap on head, is propped up on his couch, with learned tomes littered around him, trying to peer into the pages, with the light of a candle held in a gilt sconce. The chamber of the invalid is surrounded by trophies and relics, and apparatus implying a diversity of tastes, and the means of humouring them. Suits of armour, suits of costume, weapons, busts, ancient plate, musical instruments, vases, urns, idols, &c., are mixed up with sketches, folios of prints, palettes, books, architectural instruments, mortars, retorts, chemicals, and other appliances. A bull-dog is chasing rats, which are invading these richly lumbered domains. Wine, and a flask of vain 'elixir,' are at the antiquary's elbow; but his candle is flickering, and he is already sinking into stupefaction, while the grim King of Terrors,--to the horrent affright of a cat perched on the invalid's bed,--has stealthily stolen into the chamber; and the last unique curiosity, '_Death's dart_,' is about to become the property of the semi-conscious collector.

Plate 3. _The Last Chase._

Such mortal sport the chase attends. At Break-neck Hill the hunting ends.

The chase is a stag, the dogs have just run the noble beast down; the hunters are making alarming efforts to come in 'at the death,' and accordingly they are piloted by the grim hunter in person, mounted on a skeleton steed, over the edge of a cliff which they perceive too late. The frightened horses rear and plunge, and dash themselves and their riders headlong to destruction.

DEATH follow'd on his courser pale, Up the steep hill, or through the dale: But, 'till the fatal hour drew nigh, He veil'd himself from ev'ry eye. 'Twas then his horrid shape appear'd, And his shrill voice the hunters heard: With his fell dart he points the way, Til' astonish'd hunters all obey; Nor can they stop the courser's speed, Nor can they shun the deadly deed; But follow with impetuous force, The potent phantom's mortal course, Down the steep cliff--the Chase is o'er-- The hunters fall--to rise no more!

* * * * *

Still fate pursues--still mortals fly, The chase continues till they die. Howe'er they live, where'er they fall, DEATH--MIGHTY HUNTER--earths them all!

Plate 4. _The Statesman._

Not all the statesman's power, or art, Can turn aside Death's certain dart.

Death, according to another picture, has asserted his supremacy in the presence of that very exalted personage, a statesman--whose table, covered with deeds and bags of money, and whose office, attended by numerous suitors, bearing heavy contributions, seem to indicate that the owner has not failed to provide for himself. The portrait of Midas tops the book-case. A footman is pouring out a glass of wine for the great man's refreshment, when the Universal Ruler, the 'King of Terrors,' who in this instance, out of respect possibly to the object of his call, has assumed his crown--is peering forth on the pair from behind a screen; the ghastly summons has driven the colour from the cheeks of his victim, and drawn the power from his limbs.

Plate 5. _Tom Higgins._

His blood is stopp'd in ev'ry vein, He ne'er will eat or drink again.

The story of Tom Higgins is instructive. He began life as a bricklayer's lad, rose gradually, by care and industry, to a position of influence, and then turned his means to account.

A more important line he sought; Houses he jointly built, and bought; Nay, he had somehow learn'd to waste The gay man's wealth in works of taste.

After a life devoted to various building schemes and other speculations, whereby Tom Higgins has grown into a man of great estate, he is persuaded to become a squire, and to retire to the country, where his new position and state of being fail to afford him the gratification he had anticipated, and he sighs for the simple joys of his early days. Coombe's easy verses best describe the artist's picture, in which the end of wealth and consequence is graphically set forth, when Death finally drops in and discovers a passive and not unwilling victim in Tom Higgins.

At length, wheel'd forth in easy chair, His sole delight was to repair To a small, shaded inn, that stood Contiguous to the turnpike-road: There he could eat, and drink, and smoke, And with the merry curate joke: For though so chang'd in form and feature, He still retain'd his pleasant nature: And, as he took his brimming glass, Was pleas'd to see the coaches pass: Nor did he hesitate to own He envied those who went to town, And long'd to be at Islington. 'Nay, there I'll go once more,' he said, 'But that won't be till I am dead: For wheresoe'er fat Tom shall die, At Islington his bones shall lie. There, where, when I was young and poor, I smok'd my pipe at ale-house door; And now, nor can I Fortune blame, When old and rich, I do the same; And all the good that pass'd between, Will be as if it ne'er had been. But still, I trust, whene'er it ends, Death and Tom Higgins will be friends.' He spoke, and straight a gentle sleep Did o'er his yielding senses creep. The pipe's last ling'ring whiff was o'er, The hand could hold the tube no more; It fell, unheeded, on the floor. Death then appear'd, with gentle tread; Just show'd his dart, and whisp'ring said, 'Spirits, to your protection take him: For nothing in this world can wake him.'

Plate 6. _The Shipwreck._

The dangers of the ocean o'er Death wrecks the sailors on the shore.

The good ship is sunk in the deep; all is lost; a few fragments of a longboat are thrown upon the beach; the coast is rocky and inaccessible; two exhausted and starving mariners, the remnant of the crew, are the sole survivors, and they have only escaped the dangers of the deep to face a more lingering fate from exposure and want. They are cast down without strength to assist themselves, or encouragement to prolong their miserable existence. Seated on a rock before them, confronting their blank, hopeless, starved faces, sits the grim foe, from whose clutches by sea they have barely escaped. Death in this case is merciful, for he is welcomed as the deliverer. Cries Joe:

'Come, Death, and ease me of my pain, Oh plunge me in the stormy main: Hear my last prayer, and be my friend: Thus let my life and suff'rings end!' He spoke; and lo! before him sat The summon'd messenger of fate. 'Ah! thou art there (the seaman said), I know thee well--but who's afraid? I fear'd thee not, when, at my gun, I've seen the mischief thou hast done! Upon the deck, from helm to prow, Nor, old one, do I fear thee now; But yield me in thy friendly power, And welcome this my final hour.' Death wav'd his arm:--with furious shock, The billows dash'd against the rock! Then, with returning force, they bore The helpless victims from the shore: There sinking, 'neath the foaming wave-- The sailors found--the SAILOR'S GRAVE.

Plate 7. _The Virago._

Her tongue and temper to subdue Can only be performed by you.

Death is shown, in another plate, as the advocate of peace. It is night, and roysterers are staggering home, assisted by friends, or plundered by the harpies of darkness, according to their fortune. The watch is calling the hour, when good souls should sleep in peace. A fury of an old wife, kicking, fuming, and tearing, is considerately taken in hand by Death, the most effective tranquillising agent; her husband is bowing and lighting his reviling spouse, and her trusty keeper, to the door, while she is vainly screaming for the assistance of the watch. Her departure is viewed with rejoicing.

Her husband follow'd to the gate Submissive to the will of fate. 'Farewell (he cried), my dearest dear! As I no more shall see you here, To my fond wish it may be given That we may meet again in Heaven; And since your daily clamours cease, On earth I hope to live in peace. Death, far away, my cares has carried. _Molly,--to-morrow we'll be married!_'

Plate 8. _The Glutton._

What, do these sav'ry meats delight you? Begone, and stay till I invite you.

A well-to-do gourmand has taken his place at a plentifully supplied table, whereon is spread all kinds of fare; attendants are ministering to his wants, and a handsome and elegantly dressed female is at his side; the arch-jester, Death, has suddenly dropped into a vacant arm-chair at the festive board; joints are scattered, plates are thrown down, the founder of the feast is starting forward in consternation; a male cook, and serving maids, bringing in fresh dishes, are losing their grasp of delicacies which will never, as it now appears, regale the gluttony of their master. The foot of the ghastly skeleton has touched an over-fed spaniel, and the dog lies stiff. Death is politely handing forth his hourglass like a goblet, wherein to pledge his host, and enjoying a cruel pleasantry at the expense of the master of the house.

When the knight thought 'twere best be civil, And hold a candle to the devil, 'Do lay that ugly dart aside; A knife and fork shall be supplied; Come, change your glass for one of mine, That shall appear brimfull of wine; Perhaps you're hungry, and may feel A hankering to make a meal, So without compliment or words, Partake of what the house affords.' 'Avaunt,' cried Death, 'no more ado; I'm come to make a _meal_ of _you_!'

Plate 9. _The Recruit._

I list you, and you'll soon be found One of my regiment under ground.

A party of farm labourers, wearing bunches of ribands in their caps, are being recruited for the wars; they are led by a drummer, with whose steps they are clumsily attempting to keep time. One fine, tall, healthy-looking young fellow is taking leave of his sweetheart; his father, mother, and the rest of his family and friends, grouped around--down to a grotesque-looking dog--are plunged into grief at his departure. Death, who is wearing a plumed hat, a jaunty cloak, and who carries his dart like a halbert, is clutching the shoulder of the recruit, and hurrying forward his legions; the universal captain is reminding his followers of the everlasting burden--_Death_ and _Glory_.

Plate 10. _The Maiden Ladies._

Be not alarm'd, I'm only come To choose a wife, and light her home.

Death, with an air of awful gallantry, wearing a gay cap, rakishly set on one side of his grim bare skull, with his dart put up guitar-wise, and laying a bony hand on the part of his structure where his heart should be, has arrived, unannounced, with a lantern to offer the courtesies of his escort to a large gathering of elderly spinsters--a 'tabby party' of weird and wizened-looking ancient anatomies--who are met for the joint distractions of scandal and gambling. The cards, the stakes, and the play-table are capsized; a fat footman is gazing with wonder at the guest last arrived, but the old maids are sensible of the nature of his attentions, and they are fluttering about in consternation and terror, as to whose turn has come. Death, it seems, is making a jest of offering what these frozen old maids have lacked through life--a husband.

'Tis Fate commands, and I with pride, Embrace Miss _Mustard_ as my bride. A well-appointed hearse-and-four, Attends her pleasure at the door. The marriage ceremonies wait Her presence at the churchyard gate: My lantern shines with nuptial light; The bells in muffled peal invite; And she shall be--_A bride to-night_.

Plate 11. _The Quack Doctor._

I have a secret art to cure Each malady which men endure.

Apothecaries' Hall, it might reasonably be hinted by the satirists, was a likely spot for Death's visitations. In Rowlandson's print we find the grim foe in the full exercise of his privileges, pounding away with fatal energy. An apothecary is dispensing various noxious drugs to a considerable crowd of patients, who are disfigured by various sufferings. They will not be kept waiting long apparently, for behind a curtain, Death, grinning at himself with a satisfied air in a mirror, and surrounded by the seeds of mortality, is grinding slow poisons with a will; the motive power of the situation; as an able assistant to the quacks, whose master he knows himself to be.

Plate 12. _The Sot._

Drunk and alive, the man was thine, But dead and drunk, why--he is mine.

Veteran topers are soaking at the sign of _The Goat_ on the village green; they are bloated and gouty, but convivial and careless. The landlord is looking somewhat horrified to find one of his best and most unwieldy customers carried off by his enraged and scolding wife, for whose assistance Death has himself brought a wheelbarrow in which to cart away her incapable spouse, and in reply to the railings of the vixen the grim death's-head is comically wagging his nether jaw, and logically stating his just claim to this burden of well-saturated clay.

Plate 13. _The Honeymoon._

When the old fool has drunk his wine And gone to rest,--I will be thine.

A wealthy old dotard, already half in the grave, has committed the last supreme folly of decrepitude, and married a young, beautiful, and blooming maid, whose troth and affections are plighted in advance to a more suitable but less prosperous suitor. The artist has drawn the enjoyments of the honeymoon; the imbecile and antiquated 'happy man,' nightcap on head, is plunged in an invalid chair; a well-stuffed cushion gives ease to his gouty extremities; a table at his side is spread with a costly dessert service. The palsied hands of the venerable idiot are vainly striving to steady a goblet for a bumper; the eager toper does not distinguish the hand which is filling his last glass. The grim skeleton, Death, stooping over a screen, is supplying the final dose from his own fatal decanter. The blushing fair, who has been trying to soothe the gouty torments of her superannuated spouse with music and poetry, is awakened to the sound of a window opening at her back, her name is pronounced; 'tis the gallant and dashing young officer, the man of her choice. Nothing abashed, and without disturbing her attitude beside the invalid, or turning her head, her rounded arm and taper hand are leant over the casement by way of encouragement to her lover, who is availing himself of the opportunity and is embracing her fingers.

Think me not false, for I am true: Nay, frown not--yes,--to Love and you. Reason and int'rest told me both, To this old man to plight my troth. I had but little--you had less; No brilliant view of happiness: And though, within the lowest cot, I would have shar'd your humble lot, Yet, when the means I could possess Which would our future union bless, I gave my hand, th' allotted price, And made myself the sacrifice. When I was to the altar led, Age and decrepitude to wed, The old man's wealth seduc'd me there, Which gen'rous Hymen bid me share; And all, within a month or two, I hope, brave boy, to give to you. Behold, and see the stroke of Fate Suspended o'er my palsied mate: For Death, who fills his goblet high, Tells him to drink it, and to die. And now, my Henry dear, depart With this assurance from my heart. I married him, by Heaven, 'tis true, With all his riches in my view, TO SEE HIM DIE--AND MARRY YOU.

Plate 14. _The Fox Hunter Unkennelled._

Yes, Nimrod, you may look aghast. I have unkennel'd you at last.

A party of fox-hunters, getting ready to start for the chase, are refreshing themselves from substantial joints, and potent stirrup-cups. Death, the grim hunter, uninvited and unannounced, has joined the party, to the consternation of both men and dogs; one disconcerted Nimrod, in palsied affright, has vainly sought concealment under the table; Death, with true sportsman's instinct, is raising the cloth, and simultaneously striking the refugee, 'run to cover,' with his weapon.

While Jack, as quick as he was able, Sunk, slyly, underneath the table. The phantom drew the drap'ry back, And, in a trice, unkennell'd Jack: When, after crying Tally-ho!-- He pois'd his dart and gave the blow: Then told his friends to shove Jack Rover Into the hearse which he leap'd over.

One or two prints of the series are not treated from a grotesquely horrible point of view.

Plate 15. _The Good Man, Death, and the Doctor._

No scene so blest in virtue's eyes, As when the man of virtue dies.

In this picture the artist has been at the pains to illustrate, without travesty, the end of a good man, stretched stiff on his last couch. By the side of his bed kneel various members of his family, plunged into the deepest affliction; at the head of the bed stands a benevolent-visaged pastor of the church, who has evidently just administered the last consolations of religion to the departed. The burlesque element, which does not interfere with the main group of the sketch, is settled on the action of Death, who, emblematic as usual, is thrusting before him an evil-looking and overfed quackish practitioner, the extortionate physician, who has boldly declared 'he has no time for praying, but demands his honorarium.' The arch foe has fixed his unrelaxing grip upon the shoulder of Doctor Bolus, who it may be presumed has received his last fee.

Plate 16. _Death and the Portrait._

Nature and Truth are not at strife, Death draws his pictures after life.

A gouty and decrepit corpulent sitter is propped up by cushions and pillows in an arm-chair placed on a raised stage in a painter's studio. From the canvas it appears that the original of this last act of vanity is a judge. The sitter has evidently reached a state of dotage, and the artist has left his slumbering subject to enjoy a more congenial occupation; he is showing a blushing young damsel, who has accompanied the gout-ridden old judge, certain designs, groups of cupids, and the young couple have seemingly established a very agreeable understanding. Death has fantastically perched himself in the artist's seat, and having assumed his brush and palette, is putting the finishing touches both to portrait and sitter.

The painter brings the promis'd aid, And views the change that has been made. He sees the picture's altered state, And owns the master-hand of Fate. 'But, why,' he cries, 'should artists grieve When models die,--if _pictures_ live?'

Plate 17. _The Genealogist._

On that illumin'd roll of fame Death waits to write your lordship's name.

In the escutcheon-panelled ancestral hall of the peer, surrounded by the evidences of antiquity and wealthy ease, the sepulchral visitor, unbidden, lays down his hourglass, and is shown displaying to the affrighted gaze of a fashionably apparelled old couple, the family genealogical table which he has taken the liberty of unrolling for an unexpected addition he is about to make.

On that illumined roll of fame Death waits to write your lordship's name. Whether from Priam you descend, Or your dad cried--_Old chairs to mend_, When you are summon'd to your end, You will not shun the fatal blow; And sure you're old enough to know, That though each varying pedigree Begins with _Time_, it ends with _me_!

Plate 18. _The Catchpole._

The catchpole need not fear a jail, The undertaker is his bail.

A bailiff is serving a writ outside the Debtors' Prison, the barred windows of which are filled with the faces of persons captured by one _Catchpole, Sheriff's Officer_. The unfortunate prisoners, crowded behind the bars of their jail, are enjoying a grim instance of retributive justice. While the bailiff is startling his victim with his unexpected capture-bespeaking tap, Death, dart in hand, is lightly performing the same ceremony for the stalwart sheriffs officer, who is summoned in his turn, and conclusively.

Thus, as he told his stern command, A grisly spectre's fleshless hand His shoulder touch'd. It chill'd his blood, And at the sight he trembling stood. 'You long have ow'd,' the Phantom said, 'What now must instantly be paid.' 'O give me time!' 'Thou caitiff dun, You know full well you gave _him_ none. Your life's the debt that I am suing; 'Tis the last process, Master Bruin.' 'I'll put in bail above.' 'No, no: OLD NICK shall be your BAIL BELOW.'

Plate 19. _The Insurance Office._

Insure his life, but to your sorrow You'll pay a good round sum to-morrow.

A country squire, in the prime of life, has married a young bride; he is persuaded by his frugal spouse to insure his life as a provision for her maintenance, from prudential reasons. As the young wife sensibly states the case:--

Nature, in all her freaks and fun, Has never given us a son; And there's no jointure, sir, for me Without that same contingency. For your estate's so bound and tied, So settled and transmogrified, (A thing one scarcely can believe) You've not a thousand pounds to leave.

The artist has represented the couple arrived in town, and visiting the insurance office, the 'Globe,' or 'Pelican;' the actuary, the secretary, and the doctor are there to pass the customer's life, and Death--spectacles on nose and dart in hand--is also one of the party; unperceived, he is stooping down behind the seemingly robust applicant, and gloating over the mischievous prank he has in contemplation.

To this the doctor sage agreed, The office then was duly fee'd, And sign'd and seal'd each formal deed. Now Death, who sometimes loves to wait At an insurance office gate, To baffle the accountant's skill And mock the calculating quill, Had just prepar'd his cunning dart To pierce _Ned Freeman's_ tranquil heart: But lest the stroke should cause dispute, And lawyers conjure up a suit, Death was determined to delay _Ned's_ exit to a future day; And the dull moment to amuse, He turn'd and kill'd a pair of Jews. Thus was the husband's life insur'd, And the wife's future wealth secur'd. But _Death_ had not forgot his fiat, So bid a fever set him quiet; And ere, alas, ten days were past, Honest Ned Freeman breath'd his last. The doctor call'd to certify His glowing health now saw him die. Thus she who lately came to town With not a doit that was her own, Weeping attends her husband's hearse, With many a thousand in her purse, And proves that she's of wives the best Who knows her _real interest_.

Plate 20. _The Schoolmaster._

Death with his dart proceeds to flog Th' astonished, flogging pedagogue.

The learned schoolmaster, whose years have reached a respectable longevity, is surprised in the midst of his tasks, while training the minds of the youths around him, to discover the grim skeleton Death, _mors pulsat_, concerning whose approach he is well stored with classic instances, seated astride of the terrestrial globe, to the consternation of the scared and flying scholars. The well-read pedagogue is inclined to give his visitor a lesson from Horace in good manners.

That he at least should knock, and wait Till some one opes th' unwilling gate.

To which Death retorts in reply:--

Doctor, this dart will neither speak In Hebrew, Latin, or in Greek, But has a certain language known In ev'ry age as in our own.

The pale spectre proceeds to remind his charge of the prolonged allowance of life which has been allotted to the pedagogue, although he finds his years have proved too short to allow him to complete the legacy of learning it was his fond ambition to leave behind him.

The doctor, who seems a kindly preceptor, and one whose self-composure it is difficult to disturb, while resigning his mind to his own fate, is interceding for his pupils.

'But you'll at least these urchins spare, They are my last, my only care.' 'I'll hurt them not, I'll only scare 'em: So die, and _Mors est finis rerum_, Which, for your scholars, I'll translate, Death strikes the learn'd, the little, and the great!'

Plate 21. _The Coquette._

I'll lead you to the splendid crowd: But your next dress will be a shroud.

A dashing belle, of majestic presence--according to Rowlandson's design--is standing before a toilette table which is elegantly fitted; her costume is just completed, and her tire-woman is holding a light wrapper, when, in spite of the exertions made by a duenna to restrain his brusque invasion, an unexpected intruder is gliding into the handsome chamber. Bowing with the extreme of mock politeness, Death has come as cavalier to escort the lady, who was preparing for a masquerade; his hourglass and dart are slung by his side, he sports a fashionable powdered wig, with a solitaire, a red coat, a cocked hat, dandified pumps, and a frill, which he is fingering with the air of a _petit maître_. According to Coombe's verses, we learn that Flavia, a young lady of _ton_, whose sister is but recently dead, cannot resist the temptation to cast off her mourning for one evening, and apparel herself as the 'Queen of Beauty,' to appear at midnight at Lady Mary's ball.

But, as her lovely form receiv'd The robe which Fashion's hand had weav'd, A shape appear'd of such a mien As Flavia's eyes had never seen. 'How dare you enter here,' she said, 'And what's this saucy masquerade? Who are you? Betty, ring the bell.' The Shape replied--''Twill be your knell. I'll save you from the swelt'ring crowd, Form'd by the vain, the gay, the proud, For which your tawdry mind prepares Its fruitless, its coquettish airs. Lady, you now must quit your home For the cool grotto of a tomb. Be not dismay'd; my gallant dart Will ease the flutt'rings of your heart.' He grinn'd a smile; the jav'lin flies, When Betty screams--and Flavia dies!

Plate 22. _Time, Death, and Goody Barton. A Causette._

On with your dead, and I'll contrive To bury this old fool alive.

Old Time, armed with his scythe, is driving his mortuary cart through a village; the horse is a mere skeleton, but the vehicle is heavily loaded, humanity is heaped up like carcases of no account, in fact the melancholy receptacle is as full as it will hold, and the wheel is passing over the neck of a frightened cur. Death is acting as collector, and has picked up one of the plagues of the village, a troublesome old man, who is kicking, fighting, and protesting against the violent illegality of Death's treatment in throwing his lot amongst the defunct. Stern Time, on the box, is turning round to remonstrate with his assistant.

_Time._

While he shows that living face, With me he cannot have a place.

_Death._

'Tis true the fellow makes a riot: There's one jerk more--and now he's quiet.

A young wife, who has a soldier-lad in attendance waiting for the shoes of her old husband, is dragging forth an ancient cripple, and pushing him on against his will:--

_Death._

My goody, 'tis too late to-day, Time's moving on, and will not stay; But be at rest and save your sorrow, The cart will call again to-morrow.

Plate 23. _The Undertaker and the Quack._

The doctor's sick'ning toil to close, 'Recipe coffin' is the dose.

A prosperous quack practitioner, meditating over his specific _sovereign pill to cure all ills_, is riding gravely through the streets of a picturesque country town. As his hack is passing Screwtight the undertaker's window, that worthy is thrown into consternation, for he recognises, immovably perched behind the cogitating empiric, the figure of a grim rider with whose presence he is too professionally familiar to be deceived.

And leaping on the doctor's hack, Sat close and snugly at his back; And as they reach'd Ned Screwtight's door, Death sneez'd--and Nostrum was no more.

The undertaker is plunged into sincere mourning for the loss of his great patron; his less far-seeing wife declares he ought to rejoice at his good fortune, since there's the job of burying the deceased doctor.

Screwtight hung down his head and sigh'd: 'You foolish woman,' he replied, 'Old Nostrum there stretch'd on the ground Was the best friend I ever found. The good man lies upon his back, And trade will now be very slack. How shall we undertakers thrive, With doctors who keep folks alive? You talk of jobs; I swear 'tis true, I'd sooner do the job for you. We've cause to grieve, say what you will, For when quacks die, they cease to kill.'

Plate 24. _The Masquerade._

Such is the power and such the strife That ends the masquerade of life.

A masked ball is represented at its height, gaily attended, and held in the Pantheon or some similar building. A dance is proceeding; the most diversified scenes meet the eye on all sides, and Rowlandson has given full play to his humorous inventive faculties. In the front of the picture the crowd of merrymakers, all unthinking and unprepared, are horrified to discover a new turn abruptly given to the travesty; the tall figure of Death has suddenly cast away his disguising domino, and holding aside a demoniac mask, is revealing to the terrified spectators the actual figure of the skeleton-destroyer, armed with his dart, and in grim earnest to strike. Harlequins, nuns, monks, devils, Turks, toxopholites, bacchantes, jockeys, Punch, Falstaff, Jupiter, Ophelia, Friar Tuck, watchmen, magicians, fair enchantresses and Circassians, archbishops, Roman heroes, and Grand Signiors--characters in vogue in Rowlandson's day--are thrown down pell-mell and trampling one over the other in their eagerness to get as far away as possible from this unwelcome and awful addition to the excitement of the revelry; this ghastly joker who with unequivocal reality is threatening to extinguish their gaieties for ever.

Plate 25. _The Deathblow_.

How vain are all your triumphs past, For this set-to will be your last.

Two prize-fighters have met on Epsom Downs to decide the championship of the 'Ring,' with umpires, bottle-holders, and all the paraphernalia of the 'fancy.' In the artist's picture one of the combatants has received a fatal blow, and he is stretched lifeless on the turf. The grim figure of Death, the bony personification which permeates the series, has suddenly joined the sport, and he is squaring up to the scared victor in a scientific and confident attitude; the horrified champion is unconsciously raising his strong arms to guard himself against this new opponent, though justly disinclined to continue such an unequal contest. Impressed by the fatal ending of the man he has beaten the winner has conscientiously registered a vow, on the spur of the moment, 'to never fight again.'

But Death appear'd! Once more, my friend, Yes, one round more, and all will end.

The crowds of fashionable and sporting spectators are all dispersing at the top of their speed, running and driving away from this unexpected opponent, and turning their backs on this involuntary renewal of their favourite diversion.

Confusion reign'd throughout the scene, And the crowds hurried from the Green. The roads were quickly covered o'er With chaise and pair and chaise and four, While curricles and gigs display The rapid fury of their way, And many a downfall grac'd the day. As _Playgame_ claim'd a flying bet, His new-built tilb'ry was o'erset: Lord Gammon's barouche met its fate In contact with a turnpike-gate; And _Ned Fly's_ gig, that hurried after, Was plung'd into a pond of water. But, would it not be vain to tell The various chances that befel Horsemen and footmen who that day From _Death's_ dread challenge ran away? For when th' affrighted crowd was gone, And DEATH and HARRY were alone, The spectre hasten'd to propose That they should forthwith come to blows; But Harry thought it right to say, 'As no one's here to see fair play, I'll try your strength another day. Besides, I know not how you're made, I look for substance, you're a Shade, A bag of bones; for aught I know, Old _Broughton_, from the shades below: And though alive I should not dread His power, I war not with the dead.' Thus keeping well his guard he spoke, When grinning Death put in a stroke Which did the short-liv'd round decide, And _Sheffield Harry_, in his pride, Was laid by _Tom from London's_ side.

Plate 26. _The Vision of Skulls. (In the Catacombs.)_

As it appears, though dead so long, Each skull is found to have a tongue.

A party of the fashionably curious are carrying their taste for sight-seeing down into the catacombs, and the fragments of decaying humanity are lighted up for their ghastly entertainment. In the instance designed by Rowlandson the visitors are lost in horror at the spectacle of the grinning human skulls arranged in trim arcades; they do not notice the person of their conductor, who is more fearful to look upon than the relics around. Death himself, dart in hand, is condescending to act as showman to the gallery of his own furnishing; the torch he holds is whirled aloft in his grisly left arm, in an instant it will be flung into a well of water, which the holiday-makers have not distinguished; darkness must succeed, and many of the spectators may follow the flambeau or lose their way in terror-striking and fearful labyrinths which extend for leagues under the city.

Plate 27. _The Porter's Chair._

What watchful care the portal keeps! A porter he who never sleeps.

Seated snugly in the hall-porter's easy-chair before the handsome mantel and cheerful fire in the marble-paved hall of a nobleman's mansion, with its statues and embellishments telling of ease, taste, and profusion, is our old friend the grim hero of the series. He is waiting quite tranquilly, impatience is foreign to his impassive temperament; his hourglass is on the ground at his side; his dart is held negligently, but in readiness; a nocturnal bird is hovering suggestively over his fleshless head; he has supplanted the night-porter, and is probably sitting there attending the return of the unprepared owner of these rich surroundings. Some sound has alarmed the servants; the butler has stolen down in his nightcap, armed with sword and pistol; he is collapsed with terror, and his defences are dropping from his hand on making the discovery that Death has established himself in the hall; and the fat cook, who is also paralysed with horror, has taken a false step, and is falling giddily down the staircase, whence her head will come in violent contact with the marble floor; and Death without turning in his seat may confidently count upon one victim in advance.

For at the time Death's pleas'd to come, We all of us must be at home.

Plate 28. _The Pantomime._

Behold the signal of Old Time, That bids you close your pantomime.

A pantomimic scene is transpiring; according to the artist's picture, it is the very last place where Death's ghastly impersonation could be considered a diverting addition to the company. The background represents the sea-shore; Columbine, supported on the arm of Harlequin, is pirouetting and posturing in amorous poses; the other personages of the mimic theatre are thrown into actions which are entirely unpremeditated, while their countenances wear expressions which supply ghastly contrasts to their motley. Death once more has intruded his bony person on the stage, the inevitable dart is held slily behind him, and in the painted and terror-stricken faces of Pierrot and Pantaloon the tale-telling hourglass is held up, the sand has run through, and the mummers must away hence. The stage wizard is stretched at length on his back, and his wonder-working magic sword is mere lath and tinsel before the weapon of this grim supernatural actor, who has come, unengaged, to give a new turn to the show.

Thus may Death's image aid delight, 'Mid the gay scen'ry of the night: But in the pantomime of years, 'Tis serious all when Death appears. For then no grin can Pierrot save; He finds the trap a real grave; Old Pantaloon, with all his care, Will cease to be an actor there; _Lun's_ magic sword, with all its art, Must yield to Fate's resistless dart, And when life's closing scene is o'er, The curtain falls to rise no more.

Plate 29. _The Horse Race._

This is a very break-neck heat; And, squire jockey, you are beat.

The artist has pictured a race-course; in the distance the grand stand, a group of tents, and crowds of equestrians and equipages may be distinguished. A file of race-horses, with their jockeys and trainers, are being walked up to the starting point. A crowd of mounted 'sporting gents,' the _élite_ of the patrons of the turf, are assembled round the 'betting post,' shouting the odds and eagerly making their engagements before the approaching start. Nearer the spectator is displayed some of the fun of the course, which never failed to strike Rowlandson's eye. An old dame has a table and an arrow, at which sundry juvenile rustics are gambling for cakes, and a Jew pedlar is tossing with two sportive urchins for nuts. The _Dead Heat_ referred to in Coombe's lines is shown in the person of an anxious country squire, who, afraid of arriving at the betting post too late to speculate, is pushing his horse along madly to arrive in time, without noticing a skeleton steed, neck and neck with his own, whose jockey is the inevitable skeleton, _Mors_, wearing a gay cap and feather, and turning his dart to account as a riding-whip.

Now Jack was making to the post, The busy scene of won and lost, When to all those he saw around, He cried, 'I offer fifty pound, That to yon gambling place I get Before you all.' Death took the bet. The squire's mare was _Merry Joan_, And Death rode _Scrambling Skeleton_. They started, nor much time was lost Before they reach'd the gambling host: But ere they reach'd the betting pole, Which was the terminating goal, O'er a blind fiddler _Joan_ came down, With fatal force poor Jack was thrown, When a stone on the verdure laid Prov'd harder than the rider's head. Death way'd aloft his dart and fled.

Plate 30. _The Dram-Shop._

Some find their death by sword and bullet, And some by fluids down the gullet.

Death is discovered nefariously at work adulterating the spirit-casks with vitriol and aquafortis.

Plate 31. _The Gaming-Table._

Whene'er Death plays, he's sure to win! He'll take each knowing gamester in.

Death, the successful player, is shown stripping the table of the stakes and breaking the bank by force.

But Death, who, as he roams about, May find the _Gaming Table_ out;

* * * * *

He enters; when the fearful shout Echoes around of 'turn him out.' 'No,' he replies, 'that gold is mine: Gamester, that gold you must resign. Now life's the main,' the spectre cries: He throws, and lo! the gamester dies.

Plate 32. _The Battle._

Such is, alas, the common story Of blood and wounds, of death and glory.

Death is engaged in serving a battery which is sweeping all before it.

Plate 33. _The Wedding._

Plutus commands, and to the arms Of doting age she yields her charms.

Death, with a wig, bands, and gown, is within the altar railings performing the marriage service with an air of mocking reverence; the actors in the marriage ceremony do not appear to have recognised the dread personage who is tying the nuptial knot, to be instantly cut asunder by the end of the effete bridegroom.

Plate 34. _The Skaters._

On the frail ice, the whirring skate Becomes an instrument of fate.

The scene represents one of the parks, the waters are frozen over and crowded with pleasure-seekers of both sexes indulging their amusement in the teeth of danger--nay, as it appears in the picture, in the very jaws of death. The skeleton foe is taking his pastime amongst the crowd, and combining relaxation with business. The ice is suddenly giving way in all directions, and the skaters are tripped up by the grim evolutionist. They are falling headlong into the water, fatal casualties are occurring on all sides, and the distant crowds, who are scrambling away incontinently since the arch-enemy has volunteered to share their pastime, are coming into violent collision, and falling on the ice, breaking their limbs or suffering fatal concussions.

Plate 35. _The Duel._

Here honour, as it is the mode, To Death consigns the weighty load.

Nowhere could Death's presence be more suitably manifested than on the field of honour; and, as the artist has pictured the situation, the parties are met to settle some trifling dispute; seconds and surgeons are naturally in attendance. Death is promptly dashing in and dragging off a stout combatant in the prime of life, who, having just received his quietus, is caught in the arms of the omniscient and universal antagonist before his falling body can touch his mother earth.

Plate 36. _The Bishop and Death._

Though I may yield my forfeit breath, The Word of Life defies thee, Death.

The artist, with that talent which distinguished him above his contemporaries, has concluded the first volume of the _Dance of Death_ with a nobler design; an occasion is presented with deeper purpose wherein Death is shorn of the majesty of terror. A venerable bishop, seated in a handsome Gothic apartment of the episcopal palace, with the Book of Life open before him, and his chaplain in attendance, is receiving an abrupt visitation from the ghastly spectre. The difficulty of frightening the reverend victim, whose mind seems well prepared for the end, however premature, has made Death put himself somewhat out of the way to appear sensationally startling; his grim humour seems to have been laid aside for once, and he is weakly seeking effect in a theatrical pose, striking a stagey attitude, poising his weapon, and holding on high his warning hourglass. The whole impression is admirably conveyed. The Destroyer's posture is pretentious without being imposing; he has missed his point; this bombastical terrorism has nothing of the terrific left in it, and Death looks somewhat disappointed on failing to produce more consternation. The bishop is calmly receiving his turbulent visitor, with an air which seems to demand, without perturbation: 'O Death, where is thy sting? O grave, where is thy victory?'

THE ENGLISH DANCE OF DEATH.

SECOND VOLUME.

Plate 1. _The Suicide._

Death smiles, and seems his dart to hide, When he beholds the suicide.

Upon a rock-bound shore, whose jagged boulders come down to the deep, dashes a troubled sea, the waters of which are settling down after a tempest. Upon the foam floats the form of a drowned man; above is seen the figure of a female, forlorn and reckless, who has come to meet her future husband, and finds only his corpse--his life lost in a valiant effort to succour a sinking fellow-creature from a wreck.

The tidings to the bride were brought, In frantic haste the spot she sought, And viewing from the heights above All that remain'd for her to love, She darted headlong to the tide, And on her Henry's bosom died.

Death is present at this moving scene, lolling at his ease on the rock from whence the maiden is plunging; his dart is affectedly put aside, and he is pretending to wipe away a sentimental tear.

Plate 2. _Champagne, Sherry, and Water-Gruel._

Have patience, Death, nor be so cruel To spoil the sick man's water-gruel.

The verses intended to illustrate this picture of Death's visitations contain an argument between three friends on the best means of regulating their lives; the artist has worked out this theory in his plate. One member of the party assembled, a stout florid old gentleman, declares his golden rule in life has been to please himself, so he and his daughter are illustrating his text by drinking full bumpers of champagne; beside him, sipping his thimblefuls of sherry, is another theorist, who has passed his days in moderate indulgences. In an invalid chair beside the fire sits their host, a vaporous hypochondriac, who has passed his existence in humouring imaginary ills on a diet of sago and doctor's stuff. His nurse is preparing a saucepan of gruel, which the _Mortis Imago_, as his convivial friend has christened him, is preferring to more exhilarating beverages. Death has stepped in and settled the question as to which of these old schoolfellows shall last the longest; he has placed his bony hand on the shoulder of the great patron of doctors, and before departing with his 'meagre meal' he is giving the friends, who are allowed to survive for the time being, this piece of gratuitous advice if they would put off his visits as long as possible:--

Extremes endeavour to forego, Nor feed too high, nor feed too low.

Plate 3. _The Nursery._

Death rocks the cradle: life is o'er: The infant sleeps, to wake no more.

This picture may be designated a warning to fashionable mothers. A fine infant has been 'put out to nurse;' it is evident that the child would have been better at home. The 'foster mother' is a coarse sloven, and has neglected her charge for her self-indulgence. The natural parent, a handsome young woman, dressed in the height of the mode, and accompanied by friends of quality, has yielded to a sudden impulse to pay a visit to her offspring. The door of the cottage is opened, and this is what meets the horrified eyes of the party. The nurse sunk in a drunken sleep, her head on a cushion, another cushion at her feet, a flagon of spirits at her elbow and a glass in her hand, and a starved cat on her chair; the infant's food upset on the floor, the apartment neglected, a clothes-line and damp linen stretched over the infant's head, and Death sitting by, grotesquely rocking the cradle, and singing his mortal lullaby.

No shrieks, no cries will now its slumbers break, The infant sleeps,--ah, never to awake!

Plate 4. _The Astronomer._

Why, I was looking at the Bear: But what strange planet see I there!

The astronomer, who from his surroundings would also seem a student of miscellaneous sciences, is seated in his observatory, deep in the contemplation of the planets. Grim Death has called to summon the 'learned Senex' hence, and he is playing his victim a final prank.

One evening, as he view'd the sky Through his best tube with curious eye, And 'mid the azure wilds of air Pursu'd the progress of a star, A figure seem'd to intervene, Which in the sky he ne'er had seen, But thought it some new planet given, To dignify his views of heaven. 'Oh, this will be a precious boon! Herschel's volcanoes in the Moon Are nought to this,' old Senex said; 'My fortune is for ever made.' 'It is, indeed,' a voice replied: The old man heard it, terrified; And as Fear threw him to the ground, Through the long tube Death gave the wound.

Plate 5. _The Father of the Family._

The doctors say that you're my booty; Come, sir, for I must do my duty.

Death, in this picture, has rather a hard tussle for it. His friends, the learned physicians, who are pocketing their fees, and turning their backs on their late patient, are hurrying away. Death, with a great show of force, has seized his victim, still in the pride of manhood, by the dressing-gown, and is seeking to drag him from the frantic embraces of those to whom his life is dear. The father and mother are remonstrating with this merciless abductor; the blooming wife and infants of the unfortunate are cast down in despair; his sisters have seized him boldly round the waist, and, one behind the other, are making a sturdy stand against the fatal messenger; the servants and all the inmates of the noble mansion have rushed out, and are endeavouring by their entreaties, or by a show of resistance, to stay the steps of the tyrant.

Plate 6. _The Fall of Four-in-Hand._

Death can contrive to strike his blows By overturns and overthrows.

Death has come again, in his irresistible shape, and he has found the occasion ready to his hand. A dashing charioteer, a man of wealth and fashion, with a gaily attired female by his side, is tearing along, eager

to leave behind The common coursers of the wind, In more than phaetonic state, For every horse had won a plate.

But on arriving at a low bridge, which spans a torrent, the blood horses become unmanageable; the driver sighs for a 'tight postilion,' and behold on the 'leader' is seated one who will spur the whole team to destruction; the horses are sent over the narrow bridge, the tall curricle is capsized, and eternity is instantly opened to the careless pleasure-seekers.

Plate 7. _Gaffer Goodman._

Another whiff, and all is o'er, And Gaffer Goodman is no more.

Gaffer Goodman is a selfish sybarite, who has secured a charming rustic maiden for his wife, as being a proceeding more economical than engaging a nurse. The gaffer, whose existence is centred on creature comforts, is seated in his huge easy-chair, under a row of goodly hams, a provision for the future, before his Brobdingnagian fireplace, with a cosy nightcap, dressing-gown, and slippers for ease, meditating over the good things preparing for dinner, his beer jug ready to hand and warming, sunk in the tranquil enjoyment of his pipe. Another smoker has, unperceived by the gaffer, planted himself by his side, burlesquing his enjoyment, and timing his whiffs to the final puff. The neat and pretty wife, sacrificed to the selfishness of the old yeoman, is cheerfully spinning her flax at the open window, leaning through which the artist has introduced a well-favoured youth, her late sweetheart, discarded by necessity, but soon to be consoled, as the lady is assuring the lad of her heart.

'When I declare that I'll be true To Gaffer Goodman, and to you: And when he does his breath resign, Be wise--and Strephon, I'll be thine.' 'Then take her, Strephon,' Death replied, Who smoking sat by Goodman's side: 'Her husband's gone, as you may see, For his last pipe he smok'd with me.'

Plate 8. _The Urchin Robbers._

O the unconscionable brute! To murder for a little fruit!

The plate represents a pretty, trimly kept garden, belonging to a mansion of some pretensions. A group of young marauders have been stripping the orchard. They are suddenly scared by the apparition of the gardener, whose person is disclosed over a bush beside his greenhouses, where, gun in hand, he has been lying in ambush, to teach his troublesome tormentors a lesson. Some of the marauders have gained the wall, and are dragging up their comrades. Others are following, loaded with well-filled bags of plunder; a bigger lad is seized in the rear by the gardener's dog. The man has no deadly intentions, he merely wishes to frighten the urchins as a warning; but the grim figure is lurking undiscovered by his side; the musket is discharged, and to the affright of the custodian of the fruit, a youth falls lifeless to the ground. 'Twas not his aim which had wrought this mischief; the whole affair was pre-arranged by his unperceived companion, with the most plausible motives, as Death himself confesses.

I drove the boy to scale the wall, I made th' affrighted robber fall, I plac'd beneath the pointed stone That he had crack'd his skull upon. I've been his best and guardian friend, And sav'd him from a felon's end: Scourging and lectures had been vain! The rascal was a rogue in grain, And, had I lengthen'd out his date, The gallows would have been his fate. You living people oft mistake me, I'm not so cruel as you make me.

Plate 9. _Death turned Pilot._

The fatal pilot grasps the helm, And steers the crew to Pluto's realm.

The sea is in a tempest, and the wrecks of two good ships are battling with the foaming waters. A number of unfortunate creatures are endeavouring to escape in a longboat, pulled by the rowers with the vigour of despair; but the struggle for life is cut short; grim Death has taken his place in the stern, he is exultingly flourishing Time's hourglass before the horrified survivors, and wilfully steering the bark to destruction; the head of the boat is dipping beneath the waves, and a watery grave completes Death's handiwork.

Plate 10. _The Winding-up of the Clock._

No one but me shall set my clock: He set it, and behold the shock.

The picture represents a general scene of downfall. A stout clergyman has obstinately insisted on his right to attend to his own timepiece over the chimney-glass. His fat body has lost its balance, the steps are overturned, the breakfast table and its equipage are brought to ruin; the shock, aided by the sly hand of Death in ambush, has upset his portly wife in her arm-chair, and a general destruction is hinted of persons and property alike.

Plate 11. _The Family of Children._

'Twere well to spare me two or three Out of your num'rous family.

In this plate we are introduced to a scene of extensive domestic felicity; at a breakfast-table is seated the father of a numerous family, surrounded by fourteen pledges of conjugal affection; another child is in a nurse's arms, and in the apartment beyond may be perceived the worthy and prolific partner of his joys, who has lately presented her husband with their sixteenth infant. Death proposes to take one or two of these children under his charge, but the good father will not hear of it. 'Well then, let it be the infant,' proposes the greedy fiend. 'No, 'twould break the mother's heart!' 'Whom shall I strike then?' Death demands. The benevolent parent can only suggest 'the nurse.'

Plate 12. _Death's Door._

In this world all our comfort's o'er, So let us find it at Death's door.

Death's bony person is half thrust through his portals--which lead to the grave--as he has been disturbed by a boisterous summons thundered at his gate. He seems quite shocked at the importunities of a crowd of unfortunates who are clamorous in their demands for instant admittance to the unknown realms. Madmen, the extremely aged, the gouty, the bereaved, those afflicted with poverty, disease, scolding wives, the hungering, cripples, forsaken ones, and a multitude of various sufferers to whom the buffets of life have proved insupportable, are supplicating refuge from an unkindly world.

Plate 13. _The Fire._

Let him go on with all his rigs; We're safe; he'll only burn the pigs.

Death in this plate is represented as a reckless incendiary; he is flourishing a brace of flaming torches, and is bent on doing all the mischief within his power. A farmhouse is the object of his destructiveness; the cattle are escaping, and the family, disturbed from their slumbers by fire, are huddled together with such articles as could be secured in a hurried flight when their own lives were endangered. The unfortunate pigs may count on being roasted, as nothing can save the farm from the flames.

Plate 14. _The Miser's End._

Old dad at length is grown so kind, He dies, and leaves his wealth behind.

The miser is laid out prone, half-starved, his stiffening hands are still grasping bonds, notes, and a bag of money; his body is propped up by a 'book of interest,' and he has died, without the ease of a bed, on a mattress placed on the floor of his strong room. His iron boxes and money chests are opened by Death, who is leading the miser's delighted heirs into the treasure-chamber, where the bags of wealth, heaps of coin, and files of securities have banished all remembrance of the miserable corpse, lately the self-denying hoarder of these superfluous riches.

Plate 15. _Gretna Green._

Love, spread your wings, I'll not outstrip 'em, Though Death's behind, he will not clip 'em.

A coach-and-four, driven by two postilions, is speeding off to Scotland; it contains a fair ward, and a captain, her abductor. This hopeful pair are eloping to Gretna Green; the ward is escaping from the house of her old guardian, who had a desire to marry her himself for her wealth; the baffled and avaricious tyrant is riding his hardest to overtake the fugitives, who are threatening him with pistols held out of either window. Death, mounted on a skeleton steed, is riding step for step with the pursuer, whose horse will presently stumble, the chase will be over, and the greedy guardian's schemes will be abruptly brought to an end.

Plate 16. _The Waltz._

By Gar, that horrid, strange buffoon Cannot keep time to any tune.

A French dancing-master, while playing on the fiddle, is exercising a pretty and graceful maiden in the dance; the professor is out of temper with the fair pupil's partner, although the lady seems absorbed in the excitement of the motion. 'Tis Death waltzing his delicate victim--entranced and unsuspicious--into a consumption, which will end in the churchyard.

Plate 17. _Maternal Tenderness._

Thus it appears a pond of water May prove an instrument of slaughter.

The picture in this instance represents a lake situated in a noble park. Two youths have been tempted to bathe; one is lifted out of the water apparently lifeless. His mother, who has been alarmed by the intelligence of her son's danger, has just arrived, at the instant that the seemingly dead body is borne to the bank. The sudden shock has proved too much for nature to withstand. The tender parent falls back overpowered and unconscious, and Death, with an air of solicitude, is ready there to catch her falling form in his bony support, since she has become his charge.

Plate 18. _The Kitchen._

Thou slave to ev'ry gorging glutton, I'll spit thee like a leg of mutton.

While dinner is just prepared for my lord's table the stout _chef_ and his attendant myrmidons are thrown into disorder by the appearance of an unwelcome intruder. Dishes are dropped, everything is forgotten but personal security. The fat first male cook is the object of Death's attack, and the grim skeleton, armed with a long roasting spit, is trampling over the fallen person of a frightened kitchen-maid, and is proceeding to impale the great _chef_, who is the only person present that is making a stand against the assassin.

Plate 19. _The Gig._

Away they go, in chaise and one, Or to undo or be undone.

A sporting tradesman, driving a highly spirited horse, is taking his lady out for exercise on an excursion. Frightened by a dog, the mettlesome horse is dashing away distracted; another object, the figure of Death seated on a milestone, has completed the scare; the steed is tearing wildly towards the margin of a cliff which overhangs the sea; the driver is trying to pull up, the reins snap, and he is dashed out on his head, while his companion leaps off, to fall a corpse at the feet of the grim figure perched on the milestone.

Plate 20. _The Mausoleum._

Your crabbed dad is just gone home: And now we look for joys to come.

The heroine of this adventure is an heiress who is loved by a certain lord, but in spite of the daughter's inclinations and the quality of the suitor, the crabbed father will neither part with his child nor his wealth while he retains his place in life. This impediment is removed in the picture. While the unreasonable parent is hobbling on his crutches into the entrance of a mausoleum, the door of which Death is assiduous to open for the reception of his expected visitor, the happy couple, overjoyed, are walking, locked in a tender embrace, to his lordship's equipage, at the door of which two footmen are standing in readiness, while the coachman is waiting to drive the delighted pair to be married.

Plate 21. _The Courtship._

It is in vain that you decide: Death claims you as his destin'd bride.

Another fair heiress forms the subject of this fresh whim of Death's fancy. The lady is what the author terms a 'philosopher in love,' and she cannot decide to quit her state of independence. A conclave of her suitors are assembled to argue the marriage question, and, by the maiden's wish, to allow her a chance of judging by comparison. The array of aspirants is comprehensive; there is a colonel, a lawyer, a parson, a doctor, a quaker, and a baronet. Each pretender to her hand and fortune in turn argues the inducements he has to plead; this done, it rests with the lady to reply to the respective arguments and examine their motives. While logically disposing of all their fine persuasions, the intractable fair is claimed by a suitor who will take no denial. The reasoning of the arch-enemy is unanswerable:--

She is not fit, strange maid, to wed With living wight, but with the dead: I therefore seize her as my bride. Belinda trembled, gasp'd, and died.

Plate 22. _The Toastmaster._

'The end of life,' the chairman cries; 'Tis drank--and many a toper dies.

A scene of gross intoxication is proceeding. A convivial company is assembled; the effort of every individual's ambition is apparently the downfall of his neighbour by successive toasts; bowl succeeds bowl, and half the assembly are _hors de combat_. A new chairman has, uninvited, installed himself at the head of the table, and he is making the liquor circulate with such hearty goodwill that the topers have received him, in spite of his repellant exterior, as one of themselves. Death has ordered in fresh supplies of steaming punch, which he is ladling out to the fascinated tipplers; it is the final toast, and no one dares refuse to pledge it. 'One bumper more,' and the jovial meeting will be dissolved for ever.

Plate 23. _The Careless and the Careful._

The careful and the careless led To join the living and the dead.

The picture introduces us to the gate of Vauxhall Gardens; the light-hearted visitors are quitting the entertainment. The wise virgins are carefully wrapped up with cloaks, hoods, scarves, and muffs, and duly lighted home by cautious guardians carrying lanterns. In the foreground the foolish revellers are portrayed. They have left the heated dancing room in their light attire; a couple of giddy maidens, who are too careless to wait for their coach, are skipping off into the damp and chilling atmosphere without a wrapper, their thin dresses blowing in the wind, and running home under the escort of a gallant major. Death, with a jaunty cap on his head, and muffled in a cloak which disguises his ghostly frame, is dancing before, a very 'will-o'-the-wisp,' dangling about a flickering lantern, a dangerous guide whom they fail to recognise.

'Twas Death, alas, who lit them home, And the fools' frolic seal'd their doom.

Plate 24. _The Law Overthrown._

The serjeant's tongue will cease to brawl In every court of yonder Hall.

A busy lawyer, hastening away from Westminster Hall, where he has been exercising his lungs, has jumped into a chariot without noticing the driver on the box-seat. In this case Death is officiating as charioteer; he is whipping his horses with a vengeance. The serjeant's coach is endangering the life of a brother counsel, a dog is running between the frightened barrister's legs, and his end seems imminent. Death has chosen to wreck the carriage over a pile of stones and a heavily-loaded wheelbarrow which the paviours have left in the course of road-mending. The serjeant, brief in hand, is thrusting his angry face through the front of the capsizing vehicle, vehemently threatening penalties and vowing to bring an action against his coachman.

Fate to the stones his head applies; The action's brought--the serjeant dies.

Plate 25. _The Fortune-teller._

All fates he vow'd to him were known, And yet he could not tell his own.

In this instance we are introduced to the 'chamber of mystery' of a pretended fortune-teller. The empiric seer is surrounded by the paraphernalia of his profession; a crocodile is suspended to the ceiling, above a mystic string of orbs, and the globes have an uncanny black cat perched thereon, a witch at the least. Two credulous ladies of fashion have called to consult the pretentious impostor, who rejoices in the fur cap, flowing robes, long beard, and divining rod of a magician; a book of nativities is open before him:--'To me all fates, all fortunes known;' to which Death retorts, in hollow voice: 'Vain boaster, tell your own.' A greater conjuror is present concealed behind Merlin's seat; a jerk, and the wizard is no longer above deception; he is overturned, his neck is broken amidst the wreck of his mummeries scattered around.

Plate 26. _The Lottery Office._

To trust to fortune's smiles alone, Is the high road to be undone.

The evil of permitting lotteries, which were still in existence and flourishing at the time this plate was projected, is set forth in a graphic design. A crowd of needy adventurers have hurried to the lottery office, eager to know if fortune has assigned them lucky numbers. Jews, misers, and all sorts of gamblers, including a mob of hardy rogues who have purloined their employers' property to tempt the smiles of the fickle goddess, are darting from the office in dismay. An unlucky female, who has ventured her all, and even risked the means and belongings of others on the chance of winning a prize, has come to inquire her fate. The grim foe has exultingly taken his place among the clerks; he is holding out two blanks with an air of fiendish malice, and the shock is proving a deathblow to the unfortunate fair gambler, she is expiring in the office.

Plate 27. _The Prisoner Discharged._

Death, without either bribe or fee, Can set the hopeless pris'ner free.

Death in this case is still shown interfering with the course of others' business. The picture represents a debtors' prison; a wife and two daughters have come to visit an unhappy captive, the head of the family, who is detained by a relentless creditor. They just arrive in time to see their relative released beyond the resistance of mortal detainers. The deadly foe has called at the gate, the prisoner is summoned forth, warders and turnkeys dare not refuse to let him free in such company. A mortified Shylock and his disappointed lawyer are furiously pointing to their bonds, and dancing with rage to find their ends defeated by the grim joker, who is grinning at their manifest discomfiture.

Plate 28. _The Gallants Downfall._

Th' assailant does not feel a wound, But yet he dies--for he is drown'd.

A military Don Juan is the unfortunate hero of this adventure. He loves the beauteous daughter of a fire-eating superannuated colonel, Full of romantic gallantry, he has planted a ladder at his mistress's window, and is mounting nimbly where Cupid invites him, without observing the grim figure which has hold of his scaling-ladder. The sturdy colonel, awakened by the unaccustomed and suspicious sounds in his grounds, has fired his evening gun into the darkness, at most expecting to startle the cats. Death capsizes the ladder, the youthful lieutenant loses his balance and falls headlong into a pond on the lawn, whence his body is fished out in the morning, to the surprise of the household.

Plate 29. _The Churchyard Debate._

'Tis strange, but true, in this world's strife, That Death affords the means of life.

The picture in this instance gives a philosophic view of the end of man, and represents a snug assembly of the fortunate individuals who prosper professionally by the influence of the grim foe's assistance. Seated convivially on tomb-slabs, awaiting the arrival of a hearse and mourning _cortége_, is the author of the mischief hobnobbing with his friends and allies. Death and the doctor are blowing a cloud together in cheerful company, for the parson, the lawyer, and the sexton are pleased with his society. The undertaker is no less grateful to his useful patron, and even the distant bell-ringer acknowledges the value of his acquaintanceship.

Plate 30. _The Good and Great._

What heartfelt tears bedew the dust Of him whose ev'ry thought was just.

The funeral of a great and benevolent man is the subject of this cartoon. The venerable lord of the manor is dead; the stately funeral is setting out with its doleful attendants from the lordly hall. The coffin, with its emblazoned pall, is followed by a long train of mourners, whose sorrow is sincere; Death is congenially employing himself as bearer of the funeral plumes; and in this capacity, bending under the melancholy feathers, he is taking the lead of the procession. The tenants and villagers are standing uncovered as the body of their best friend is borne past; aged and young alike are giving way to unaffected grief, and it is evident that they regret the loss of a respected and kindly landlord, who has made himself loved by his neighbours.

Plate 31. _The Next Heir._

'Tis not the time to meet one's fate, Just ent'ring on a large estate.

The _Next Heir_ forms a pendant to the _Good and Great_, and exhibits a picture the contrast of the foregoing. The nephew, a dashing London blade, has succeeded to the title and the estates. He is supposed to arrive post haste at the mansion, which is still plunged in mourning for the late owner. The pastor and the tenants are drawn up to receive their new master. The approach of the departed lord's successor is filling their faces with dismay. The devil-may-care 'blood' is tearing up to the hall in a tandem, his followers are clothed in deep black, but beyond this he displays no regard for the dead; his servants are clashing up on horseback, his huntsman is giving a blast of his horn, his grooms are shouting 'Tally-ho!' and a pack of hounds are barking on all sides. Death is acting as postilion, and as this unthinking heir drives up to the entrance-court his head is caught by the hatchment put up to the late lord, and his mad career is cut short at the very threshold.

Plate 32. _The Chamber War._

When doctors three the labour share, No wonder Death attends them there.

The case of the invalid who forms the principal figure in the present subject must indeed be a desperate one, since the doctors, after a wordy warfare disputing over the case of the patient and the proper treatment, have come to blows in real earnest. Medicine bottles, and all the accessories of a sick chamber, are thrown to the ground, the table is overturned, wigs are sent flying, and a regular scrimmage with fisticuffs is taking place. Four practitioners are cuffing one another in the presence of their victim, with professional energy, and the sick nurse is cutting in, attacking the shaven crowns indiscriminately with the utensils which first come to hand. The sufferer is thrown into a mortal fright, but Death has very considerately called in to attend to his wants, and his disquietude will soon cease beyond the fear of a relapse.

Plate 33. _Death and the Antiquaries._

Death, jealous of his right, stands sentry Over the strange burglarious entry.

A party of ardent archæologists are holding a meeting in the abbey. They have obtained permission to open a royal grave, and the sexton has performed his part, and raised the slab of the vault in which the body of a king has reposed undisturbed for centuries. The coffin is raised, the lid removed, and the corpse, with its regal trappings, is laid open to their inspection. Full of enthusiasm, the antiquaries are clustering round the coffin in crowds, eager to get a sight of the decaying monarch. Nor do they heed the risk they run, for Death, jealous of this interference with his rights, is prepared to resent their intrusion; and, mounted on an adjacent tomb, he is about to plunge his dart into the thickest of the learned throng.

Plate 34. _The Dainty Dish._

This fine hot feast's a preparation To some for Death's last cold collation.

A sumptuous feast is represented: the handsome dining-room is filled with voracious guests; footmen are waiting on the diners, or attending to side tables; butlers are drawing corks, course is following course, the cook and his assistant train are hurrying in with fresh dishes. Among the waiters, undetected, is our friend the grisly skeleton, who is busying himself with a dish he is conveying to the table. It is the favourite delicacy of the corpulent host, and he has expressed a desire for 'just one slice more' of his esteemed dainty. The grim foe is determined to take the entertainer at his word, and that 'one slice more' will be his last indulgence.

Plate 35. _The Last Stage._

From hour to hour, from youth to age, Life's traveller takes th' uncertain stage.

The sketch in this suggestive plate introduces us to the court-yard of the _Dolphin Inn_, a famous posting-house. The life to be found in these coach-yards was attractive material to our artist, and he has delineated with rare skill all the bustle and preparation of a departure. The coach is 'braced' up, the horses are put-to, the guard and his 'helps' are busied in loading luggage on the roof, and stowing parcels in the boot and under the box-seat. Bills are being settled, and farewells said by the passengers, who are booked to travel by the 'stage.' Death is assiduously attending to the loading of the coach, and he is courteously wedging a stout lady through the doorway. It is likely that he will not quit the travellers yet, but will ride, unobserved, a part of the journey, until, perhaps, in the night he will contrive some fatal upset, and his evil whim will be accomplished.

Plate 36. _Time, Death, and Eternity._

The song now bursts beyond the bounds of time, And Immortality concludes the rhyme.

After tracing Death's farcical pranks through seventy-one plates, in nearly all of which the mischief projected by the arch-foe is crowned with success, the artist has thought proper to abandon Death's triumphs and to show the enemy at a disadvantage. The scene is allegorically set forth in the despair and overthrow of Time, and the banishment of Death before the Everlasting Angel. The Spirit of Eternity is blowing the last trump. Time is vainly tearing out his forelock; his wings are useless; he is cast on his back, the scythe and hourglass broken, amidst the crumbling monuments around him; pyramids and temples are melting away; the monuments raised by vain man are dissolving, and Death has forfeited his fell sovereignty of destruction. The slayer is slain in turn; his crown has fallen into the abyss, his fatal dart is harmless and snapped asunder, and he, abashed and disconcerted, is crouching from his doom, and falling through to the bottomless pit. So much for the pictorial allegory.

We have specially dwelt on the illustration which Rowlandson designed to finish the first part of the _Dance of Death_, wherein the spectral tyrant is displayed shorn of his terrors. The artist on occasions could sink the ludicrous and rise to the sublime.

The author, as we are inclined to believe, was elevated by the subject brought under his treatment, and, finding the theme congenial to his talents, he exerted himself to bring out its stronger points. In the last picture which concludes the series we are still more impressed with the sense of his fitness for the task. Coombe, when he wrote the concluding verses to this diversified poem, was on the verge of four score; he had fought the battle of life, and found little glory and less profit in the struggle. Nature had endowed him with an agreeable person and sound health, and he was by disposition studious. He had been the idol of an hour, and (rare chance for a scholar) had found a large sum of money at his command, and dissipated sufficient wealth to realise to the full the emptiness of gratifications which depend on mere monetary advantages; he had been taught the worthlessness of fair-weather friends, the hollowness of flatterers, and knew the folly of trusting in the great; he had learned other lessons of life, and could, from his own heart, read many a homily on the deceptiveness of beauty and the quickly withered flowers of passion. He had incessantly pursued happiness through life; he had been rich, courted, cultivated, temperate, and a discriminating judge of most things that are counted desirable in the world; a ripe scholar and a perfect gentleman--if we may believe contemporary accounts--and he found all this led him to disappointment and the confinement of a debtor's prison.

When evil tongues hiss forth the foul abuse, When Fortune turns away, and friends prove false, Man's peaceful refuge is the tomb.

From the depths of his rich experience he had realised that the harbour of refuge 'from life's frequent storms' is found, _not_--

In the flowery vales where Pleasure sports, Nor where Ambition rears the tottering seat; 'Tis not within the miser's gloomy cave; 'Tis not within the roseate bowers of Love, Nor where the pale lamp lights the studious sage To midnight toil: alas! it is not there. And while we seek in vain amid the great, Or on the gorgeous thrones where monarchs sit, It often may be found in humble cot Where Virtue with the honest peasant dwells. And what is virtue? 'Tis the conscious power Of acting right in spite of every foe That may oppose its base, malicious aim To check the pure designs which it inspires. It is to stem the tide Corruption rolls O'er half the world, to curb the impetuous will Of lawless passion, and, on life's vast stage, To act that noble part which will attain The good man's praise and the applause of Heaven. Yes, virtue, potent virtue, can secure 'Gainst every peril; 'tis a triple shield To him who has it 'gainst the pointed darts Of ev'ry enemy; the hour of death, With all its gloom, gives not a fear to him Who triumphs o'er the grave; he stands secure Amid the ruins of a fallen world. Virtue will listen to the trumpet's sound With holy awe, yet hear it unappall'd, And feels ETERNITY its destin'd sphere: When all the works of man shake to their base, And the world melts away whereon they stood; When TIME'S last agonising hour is come, And DEATH, who from Creation's pregnant hour Has made the world a grave, himself shall die; When man from his long slumber shall awake, And the day breaks that never more shall close; Then Virtue shall its promis'd glory claim, And find it, too, at the o'erflowing source Of Heaven's stupendous and eternal joys.

FOOTNOTES:

[26] Now known as the Egyptian Hall.

[27] _Marcus Flaminius; or, the Life of the Romans_, 1795.

1817.

1817-1823. _The Vicar of Wakefield, a Tale, by Doctor Goldsmith._ Illustrated with twenty-four designs by Thomas Rowlandson. Etchings dated May 1, 1817. London, published by R. Ackermann, at the Repository of Arts. Republished 1823.

Sperate Miseri, Cavete Felices.

Frontispiece.--The Vicar of Wakefield, a character eminently calculated to inculcate benevolence, humanity, patience in sufferings, and reliance on Providence. 2. The Social Evening. 3. The Departure for Wakefield. 4. Sophia Rescued from the Water. 5. The Welcome. 6. The Squire's Intrusion. 7. Mr. Burchell's First Visit. 8. The Dance. 9. Fortune-telling. 10. The Vicar's Family on their Road to Church. 11. Hunting the Slipper. 12. The Gross of Green Spectacles. 13. The Vicar Selling his Horse. 14. The Family Picture. 15. The Vicar in company with Strolling Players. 16. The Surprise. 17. The Stage. George Primrose as 'Horatio.' 18. Attendance on a Nobleman. 19. A Connoisseur Mellowing the Tone of a Picture. 20. The Scold, with News of Olivia. 21. The Fair Penitent. 22. Domestic Arrangements in Prison. 23. The Vicar Preaching to the Prisoners. 24. The Wedding.

_The Family Picture._--'My wife and daughters, happening to return a visit to neighbour Flamborough's, found that family had lately got their pictures drawn by a limner who travelled the country and took likenesses for fifteen shillings a head. As this family and ours had long a sort of rivalry in point of taste, our spirit took the alarm at this stolen march upon us; and notwithstanding all I could say, and I said much, it was resolved that we should have our pictures done too. Having, therefore, engaged the limner--for what else could I do?--our next deliberation was to show the superiority of our taste in the attitudes. As for our neighbour's family, there were seven of them, and they were drawn with seven oranges, a thing quite out of taste--no variety in life, no composition in the world. We desired to have something in a brighter style; and after many debates at length came to a unanimous resolution of being drawn together in one large historical family piece. This would be cheaper, since one frame would serve for all, and it would be infinitely more genteel, for all families of any taste were now drawn in the same manner. As we did not immediately recollect an historical subject to hit us we were contented each with being drawn as independent historical figures. My wife desired to be represented as Venus, and the painter was desired not to be too frugal of his diamonds in her stomacher and hair. Her two little ones were to be as Cupids by her side; while I, in my gown and band, was to present her with my books on the Whistonian controversy. Olivia would be drawn as an Amazon, sitting on a bank of flowers, dressed in a green joseph, richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing; and Moses was to be dressed out with a hat and white feather. Our taste so much pleased the Squire that he insisted on being put in as one of the family, in the character of Alexander the Great, at Olivia's feet. This was considered by us all as an indication of his desire to be introduced into the family; nor could we refuse his request. The painter was therefore set to work; and as he wrought with assiduity and expedition, in less than four days the whole was completed. The piece was large, and it must be owned he did not spare his colours, for which my wife gave him great encomiums. We were all perfectly satisfied with his performance; but an unfortunate circumstance had not occurred till the picture was finished, which now struck us with dismay. It was so very large that we had no place in the house to fix it. How we all came to disregard so material a point is inconceivable; but certain it is we had been all greatly remiss. The picture, therefore, instead of gratifying our vanity, as we hoped, leaned in a most mortifying manner against the kitchen wall, where the canvas was stretched and painted, much too large to be got through any of the doors, and the jest of all our neighbours. One compared it to Robinson Crusoe's longboat, too large to be removed; another thought it more resembled a reel in a bottle; some wondered how it could be got out, but still more were amazed how it got in.'

* * * * *

THE DANCE OF LIFE: A POEM.

_By the Author of 'Doctor Syntax' (William Coombe)._

ILLUSTRATED WITH TWENTY-SIX COLOURED ENGRAVINGS BY THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, REPOSITORY OF ARTS, 101 STRAND. 8vo.

'_Advertisement._--The eight monthly numbers to which this work was limited being completed, it is presented to the public in an accumulated volume. Though an acquaintance has taken place between the artist and the writer, the same principle has in a great degree, if not altogether, predominated in the originality of the designs and attendant illustrations of them as produced the _Tour of Doctor Syntax_ and the _Dance of Death_.'

ILLUSTRATIONS.

Frontispiece.--_The Dance of Life_; a panoramic scroll, on which Rowlandson's pictures which illustrate the series are represented in miniature. Father Time, with his accessories of scythe, hourglass, and globe, is acting as showman and pointing out the subjects of the work to a group of spectators, whose faces and attitudes are expressive of the admiration and interest which the pictorial history is exciting.

Titlepage.--The vignette of a lightly touched and gracefully drawn female dancing figure, with a scarf airily floating from her shoulders. The nymph is encircled by a ring of pretty children, hand in hand, who are dancing round her; while roses are scattered at the feet of the group.

1. _Infancy._--The hero is introduced to the world as an infant.

The Dance of Life begins, with all its charms In the fond dandling of the nurse's arms.

2. _Childhood._--The first tutor.

The tender nurse's care is now resign'd To the first grave instructor of the mind.

3. _Boyhood._--The public school.

The stern preceptor, with his threat'ning nod, Calls in the wise correction of the rod.

4. _Youth._--An undergraduate at Oxford.

Wine makes the head to ache; but will the art Of the grave, solemn lecture reach the heart?

5. _Foreign Tour._--Setting forth on his Continental travels. The parting from home.

To part with thee, my boy, how great the pain! How great the joy to see thee once again!

6. _Foreign Tour._--Posting in France.

'Tis hop'd, midst foreign scenes some power he'll find To mend his manners and improve his mind.

7. _Foreign Tour._--A scene in the Palais-Royal.

He pays his lively court, as 'tis the _ton_, To the fat Princess of the Mille Colonnes.

8. _The Return._--The traveller hurries home on the death of his father.

The widow'd mother hastens forth to meet Her son, Sir Henry, at his ancient seat.

9. _The Chase._--A fatal fall; his affianced bride is thrown and killed.

The hounds the flying stag pursue; But Dian does the hunting rue.

10. _Fashionable Life._--Plan for new buildings. The architect, &c.

At the first step in folly's wanton waste He pulls his mansion down, to show his taste.

11. Coaching on Hounslow Heath.

Of four-in-hand he gains the vulgar rage: Wields his long whip, and overturns a stage.

12. The Midnight Masquerade.

The mask, that scene of wanton folly, May convert mirth to melancholy.

13. The Billiard-table and its votaries.

By gamblers link'd in Folly's noose, Play ill or well, he's sure to lose.

14. The Ring, Newmarket Heath.

The victim of the betting-post: His bets as soon as made are lost.

15. A Mistress _à la mode._

For such a wild and placid dear Me pays two thousand pounds a year.

16. The Election: close of the poll: chairing the member.

For my own good, and yours, I'm bent, My worthy friends, tow'rds Parliament.

17. Imprisoned for debt, the hero resists the temptations held out by a Jew and a scrivener.

In his oppress'd and adverse hour Virtue assumes its former power.

18. A change of circumstances: coming into an unexpected fortune, left the hero by the father of his affianced bride, whose death is shown (plate 9).

The wild exuberance of joy May reason's sober power destroy.

19. A social gathering in the new mansion. Ladies and a musical evening.

Sweet is the voice whose powers can move And call the vagrant heart to love.

20. The hero selects a wife. The nuptial ceremony.

Blest Hymen, whose propitious hour Restores to Virtue all its power.

21. Dragging the lake.

Rural sports are better far Than all his former pleasures were.

22. A case of poaching. Sir Henry is sitting as magistrate at Graceful Hall. His wife is pleading for the unfortunate prisoners (poachers).

To soothe the rigours of the laws Let beauty plead the culprits' cause.

23. Worshipping on the Sabbath. The Squire in his pew.

By piety's due rights 'tis given To hold communion with Heaven.

24. Sir Henry, surrounded by his children and his friends, is tranquilly passing his declining years.

Here Virtue views, with smiling pride, The pleasures of her fireside.

1817. _Grotesque Drawing Book; the World in Miniature, consisting of groups of figures for the illustration of landscape scenery._ Forty plates, 8vo. London.

1817. _Journal of Sentimental Travels in the Southern Provinces of France._ Illustrated with eighteen plates by T. Rowlandson. 8vo. Published by R. Ackermann. (See 1821.)

1817. _World in Miniature._ Containing fifty-eight etchings. 4to. (See 1816.)

1817. _Pleasures of Human Life._

1818.

_January 20, 1818._ _The Last Jig, or Adieu to Old England._ Published by T. Tegg.

1818. _Wild Irish, or Paddy from Cork, with his coat buttoned behind._ Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi. Republished 1818.--One of the series published by the artist, to the finish, execution, and colouring of which he devoted extra care. The scene pictures a haymaking festivity. Paddy from Cork, hayfork in hand, has literally turned his coat hind part before; he is dancing in company with another swain, who is holding a whisky-jug, and a fellow Patlander, fiddling and capering for very life, beside two buxom lasses, who are flourishing hayrakes and throwing themselves into the most attractive attitudes. Groups suggestive of both rural felicity and a terrific combat in combination are figured in the distance, as the true Patland ideal of finishing a day's pleasure.

1818(?). _Doncaster Fair, or the Industrious Yorkshire Bites._ Designed, etched, and published by T. Rowlandson, 1 James Street, Adelphi.--The principal figure in the foreground group is a buxom but hardly gentle keeperess of a _knock-'em-down_ stand. The lady, clad in a soldier's old jacket, with ragged skirts and defective hose, is holding in one arm an instalment of sticks--'three throws a penny'--and is demanding her fee, a trifle boisterously, from a smock-clad yokel, who is diving into his short-clothes pocket for the coppers which do not appear to be forthcoming. Other rustics are taking their pastime at the same amusement, and one, in perplexity, is scratching his head. The bustle of a country fair is set forth in the distance; there is the usual display of booths and mountebanks, countrymen on horseback, love-making in carts, stalls, and struggling groups of sightseers.

1818. _The Adventures of Johnny Newcome in the Navy._ A Poem, in four cantos, with Plates by Rowlandson, from the Author's designs. By Alfred Burton. Published by W. Simpkin and R. Marshall, Stationers' Court, Ludgate Street.

Dulce Bellum Inexpertis.

Frontispiece.--Asleep on the Masthead. Leaving Home. 'The Admiral has made it sunset, sir!' Turning in--and out again. Seasick. Sent to hear the dog fish bark. Seized up in the Rigging. Cobbed--Watch! Watch! Crossing the Line. Sheerness Boat. Plymouth Playhouse. Going to Ivy Bridge. In the Grocer's Shop. Johnny and Maria. Mast-headed. 'The Captain's going out of the ship, gentlemen!'

1819.

_May 9, 1819._ _A Rough Sketch of the Times, as delineated by Sir Francis Burdett._ Published by T. Tegg (15).--Sir Francis Burdett is shown standing in the centre of the picture, a scarf thrown over his shoulders is marked _Magna Charta_ and _Bills of Rights_; he holds the Genius of _Honour_ and _Integrity_ firmly clasped by the hand, and, pointing to _The Monster of Corruption_, observes: 'Look here upon this picture, and on this, and then judge for yourselves.' The persons of both patriot and monster are mapped out with inscriptions, their several parts being typically labelled: '_The Genius of Honour_ rejoices in a sound mind;' 'An eye ever watchful to the welfare of his fellow-citizens;' 'A tongue that never belied a good heart;' 'An upright breast and an honest heart;' 'A shoulder that never shrinks in trouble;' 'A plain liver and a lover of peace and plenty;' 'Pockets ever open to the necessities of fellow-creatures;' 'A knee to religion;' 'Legs ever steady in his country's cause;' and 'Feet to crush tyranny;' while in his 'Hand of Justice' is displayed a declaration of these principles: 'A staunch supporter of the Bill of Rights; an advocate for a fair representation of the people, and an enemy to bribery and corruption.' The attributes of the corrupt candidate are less flattering. The head of the monster is marked 'Professions and promises;' his nose has 'a scent for Interest;' his huge eye is devoted to Interest, and his mouth to Guile; he bears the 'Collar of Corruption;' 'a cringing soul,' 'a pampered appetite;' 'a rotten borough,' and 'secret service money' mark his trunk; his 'arms of power' end in 'hands of extortion,' which grasp 'pensions, reversions, perquisites of office, and bags of bribery;' he is supported on 'legs of luxury and feet of connivance.'

1819. _Who killed Cock Robin? A Satirical Tragedy, or Hieroglyphic Prophecy on the Manchester Blot!!!_ (Pamphlet.) London: Printed and published by John Cahnac, 8vo., p. 23. Plate of _Manchester Massacre_, by T. Rowlandson.

1819. _Female Intrepidity, or the Heroic Maiden._ (Chap-book) With a folding frontispiece by T. Rowlandson.

1820.

1820 (about). _Chemical Lectures._ Designed and published by T. Rowlandson, 1 James Street, Adelphi.--Sir Humphrey Davy is exhibiting experiments at the Royal Institution before a highly respectable audience of visitors and members of both sexes. An antiquated fogey, who has evidently no opinion of the brilliant young lecturer, is snarling at the demonstrations. A treatise of the period, _Accum's Lectures_, is shown in his coat-pocket.

1820. _Rowlandson's Characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London. Consisting of fifty-four plates, neatly coloured._ Printed for Samuel Leigh, 18 Strand, London.

'_Advertisement._--The British public must be already acquainted with numerous productions from the inimitable pencil of Mr. Rowlandson, who has particularly distinguished himself in this department.

'There is so much truth and genuine feeling in his delineations of human character, that no one can inspect the present collection without admiring his masterly style of drawing and admitting his just claim to originality.

'The great variety of countenance, expression and situation, evince an active and lively feeling, which he has so happily infused into the drawings, as to divest them of that broad caricature which is too conspicuous in the works of those artists who have followed his manner. Indeed, we may venture to assert that, since the time of Hogarth, no artist has appeared in this country who could be considered his superior, or even his equal.'

Frontispiece.--Menagerie. A Beef-eater exhibiting the Royal Wild Beast Show at the Tower.

Drayman. Chairs to Mend. Cherries. Wine Cooper. Cucumbers. Singing Birds. A Peep at the Comet. Grinder. Bagpipes. Roasted Apples. Distressed Sailors. Sweeps. Matches. Coalheavers. Oysters. Cooper. Sweet Lavender. Last Dying Speech. Old Clothes. Curds and Whey. 'Pray remember the poor Sweeper.' Butcher. Itinerant Musicians. Door Mats. Earthenware. Raree Show. Images. 'All Hot.' Strawberries. Dog's Meat. Rhubarb. Baker. Tinker. Flounders. Baskets. Milk. Hot Cross Buns. Walnuts to Pickle. Hackney Coachman. 'Buy my sweet Roses.' Poodles. Firemen. Ballad Singer. Shoeblack. Placard. (Lottery Prizes.) 'Past One o'clock' (Watchman). Postman. _Billet-doux._ Bandboxes. Great News. Saloop. (Stall of Saloop-tea seller.)

1820. _The Second Tour of Doctor Syntax, in Search of Consolation._ Illustrated with twenty-four plates by T. Rowlandson. Royal 8vo. Published by R. Ackermann, Repository of Arts. (See description of _Doctor Syntax's Three Tours_, 1812.)

1821.

_May, 1821._ _A Smoky House and a Scolding Wife._ Published at 22 Marylebone Street, Portland Chapel.--A suffering mortal is seated at an unfurnished dinner-table; the man's hands are clasped, his brows are knit, and his lips tightly closed, in an effort to maintain his patience and his temper under two exasperating provocatives to violence. Placed before the bent-down martyr to domestic infirmities is a phantom bone of mutton; presumably the husband has taken exception both to the insufficiency of the joint and the superabundance of smoke, which is eddying round in volumes, and is filling the apartment with dense blackness; while his better half, sailing like a fury out of the gloom, is an object to inspire terror in the boldest heart, and the stings of the sharp tongue are apparently even more intimidating than her nails or her knuckles, all of which weapons of offence are enlisted against her pitiable helpmate.

1821. _Tricks on the Turf, or Settling how to Lose a Race._ Published by T. Rowlandson.--A scene on a racecourse; the race-horses, led round to be saddled, are seen in the background. A smart young jockey, with his saddle strapped across his own back, and whip in hand, in readiness to begin the race, is receiving the parting instructions of a wily old turfite, who wears a cocked hat, a pigtail, a triple-caped coat, top-boots and spurs. This shrewd trickster is evidently giving his rider certain secret instructions which he would probably not like to hear published abroad on his own authority. The subject of this satire, together with the scandals about the Prince of Wales's horse _Escape_ and his jockey, prove that even in the early days of the Turf its reputation was not immaculate nor its patrons above suspicion.

1821. _Journal of Sentimental Travels in the Southern Provinces of France shortly before the Revolution, embellished with seventeen coloured engravings from designs by T. Rowlandson, Esq._ London: Published by R. Ackermann, 101 Strand.

'We travellers are in very hard circumstances. If we say nothing but what has been said before us, we are dull and have observed nothing. If we tell anything new, we are laughed at as fabulous and romantic.'--_Lady M. W. Montague's Letters._

Frontispiece.--The Tribunal at Avignon. _Table d'hôte._ Searched by Douaniers on the French Frontiers. Consulting the Prophet. The Prophet discovering himself and exposing the deception. The Arrival in Paris. Offers of services. Liberality to infirm Beggars on leaving Yvri. Rural Happiness at Caverac. Pleasures of a _poste aux Anes_. The Embrace. At Avignon. First Sight of Clara. At the Tomb of Laura. Auction of Relics at Avignon. A Prisoner at Avignon. Mistakes at Cavaillon. A Tragic Story at Avignon. The Sacred Page displayed. The Inn at Marseilles.

_The Douaniers._--'No native of the German side of the Rhine can pass from the territory of Baden to that of France without carrying along with him a certain respect for his country, which he will act wisely to conceal, like any other contraband commodity. This precaution I impressed upon myself as soon as the four horses, whose neighing seemed to express the same feeling, were put to the carriage at the last post-station at Kehl.

'This little place, situated partly on one, and partly on the other side of the Rhine, possesses an equivocal sort of character, which, like the modest, innocent look of a frail fair one, is of great advantage in the way of its trade.

'The reflections on that extraordinary genius Voltaire, whom the mercantile spirit of Beaumarchais contrived to banish to this intermediate spot between Germany and France--excited as I passed the extensive printing office established here for promoting the circulation of his works--were too multifarious for the shortest of all stages; for the life of this extraordinary mortal would afford abundant matter for contemplation during a tour round the globe, without being even then exhausted. My mind standing before him, like a dwarf before a colossus, was about to measure his greatness, when I was under the disagreeable necessity of turning the looks of my admiration another way, in order to cast them with contempt upon the most miserable of all the _employés_ of the King, who waited my arrival at the barriers of Strasburg. The postilion seemed to be thinking no more about them than myself, but the cry of "Stop, scoundrel!" from the throats of ten of these varlets suddenly arrested the smart trot at which he was about to pass them. I was instantly surrounded by the rascals, who enquired what I would give to save my baggage from examination. "Nothing! nothing!" cried I, in a tone that would have scared the nymphs of the Rhine. "Nothing?" re-bellowed the incorruptible agents of the Custom House. "Nothing!" I reiterated. "I never make bargains with such fellows." With a profusion of curses and oaths they fell to work upon my baggage, which they ransacked with all the avidity of rats that have got scent of a savoury piece of bacon.

'Indeed, a small bribe would have prevented all this, but I was too much out of temper to submit to give alms to these beggars who had so rudely disturbed my meditations; for this reason my obstinacy--why should I not call the child by its right name?--had received a severe reproof.'

1821. _Le Don Quichotte Romantique, ou Voyage du Docteur Syntaxe à la Recherche du Pittoresque et Romantique._ 28 Illustrations drawn on stone (after the designs of Rowlandson) by Malapeau. Lith. de G. Engelmann. Paris. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1822.

1822. _The History of Johnny Quæ Genus; the little Foundling of the late Doctor Syntax. A poem by the author of the Three Tours_ (William Combe). Embellished with twenty-four coloured engravings by T. Rowlandson. 8vo. London: Published by R. Ackermann, at the Repository of Arts.

What various views of our uncertain state These playful, unassuming rhymes relate!--ANON.

Introduction to the history of _Quæ Genus_.--'The favour which has been bestowed on the different tours of Doctor Syntax has encouraged the writer of them to give a "History of the Foundling," who has been thought an interesting object in the latter of those volumes, and it is written in the same style and manner, with a view to connect it with them.

'This child of chance, it is presumed, is led through a track of life not unsuited to the peculiarity of his condition and character, while its varieties, as in the former works, are represented by the pencil of Mr. Rowlandson with its accustomed characteristic felicity.

'The idea of an English _Gil Blas_ predominated through the whole of this volume, which must be considered as fortunate in no common degree, if its readers, in the course of their perusal, should be disposed to acknowledge even a remote similitude to the incomparable works of Le Sage.

'THE AUTHOR.

'_Johnny Quæ Genus!_ What a name To offer to the voice of Fame!

* * * * *

But howsoe'er the thing we view, Our little Johnny's title's new: Or for the child, or for the man, In an old phrase, 'tis _spick_ and _span_. Besides, as most folks do agree, To find a charm in novelty, 'Tis the first time that grammar rule, Which makes boys tremble when at school, Did with the name an union crave Which at the font a sponsor gave. But whether 'twas in hum'rous mood Or by some classic whim pursued, Or as, in Eton's Grammar known, It bore relation to his own, Syntax, it was at Whitsuntide, And a short time before he died, In pleasant humour, after dinner, Surnam'd, in wine, the little sinner. And thus, amid the table's roar, Gave him, from good old Lilly's store, A name which none e'er had before.'

This quotation from the opening of Combe's Hudibrastic narrative will account for the originality of the hero's eccentric title.

Rowlandson's illustrations are as follows:--

_Quæ Genus_ on his Journey to London. " in search of Service. " relating his History to Sir Jeffery. " at Oxford. " Conflict with Lawyer Gripeall. " with the Sheep-shearers. " assisting a Traveller. " in the Sports of the Kitchen. " in the Service of Sir Jeffery Gourmand. " with a Quack Doctor. " with a Spendthrift. " attending on a Sporting Finale. " in the Service of a Miser. " and the Money Lenders. " officiating at a Gaming-table. " with a Portrait Painter. " gives a grand party. " interrupts a _tête-à-tête_. " committed, with a riotous dancing party, to the Watchhouse. " engaged with jovial friends, or who Sings best. The party breaking up, and _Quæ Genus_ breaking down. _Quæ Genus_ turned out of a House which he mistakes for his own. " and Creditors. " discovers his Father.

1822. _Rowlandson's Sketches from Nature._

A View near Richmond. Drawn and etched by Rowlandson. Stradler aquatinta.

A View near Newport, Isle of Wight. Drawn and etched by Rowlandson. Stradler aquatinta.

Temple at Strawberry Hill. Rowlandson del., 1822. Stradler aquatinta.

Stamford, Lincolnshire. Drawn and etched by Rowlandson. Stradler aquatinta.

Taunton Vale, Somersetshire. Drawn and etched by Rowlandson. Stradler aquatinta.

The Seat of M. Mitchell Esq., Hengar, Cornwall. Drawn and etched by Rowlandson. Stradler aquatinta.

West Loo, Cornwall. Drawn and etched by Rowlandson.

Village of St. Udy, Cornwall. Drawn and etched by Rowlandson. Stradler aquatinta.

A view in Devonshire. Drawn and etched by Rowlandson. Stradler aquatinta.

View near Bridport, Dorsetshire. Drawn and etched by Rowlandson.

Fowey, Cornwall. Drawn and etched by Rowlandson. Stradler aquatinta.

View on the River Camel, Cornwall. Drawn and etched by Rowlandson.

A View in Camelford, Cornwall. Drawn and etched by Rowlandson. Stradler aquatinta.

A Cottage in the Duchy of Cornwall. Drawn and etched by Rowlandson. Stradler aquatinta.

View at Blisland, near Bodmin, Cornwall. Drawn and etched by Rowlandson.

Clearing a Wreck on the north coast of Cornwall. Drawn and etched by Rowlandson.

Rouler Moor, Cornwall. Drawn and etched by Rowlandson.

1822. _The Third Tour of Doctor Syntax. In Search of a Wife._ Royal 8vo., with 25 Illustrations by Thomas Rowlandson. Published by R. Ackermann. (See description of _Doctor Syntax's Three Tours_, 1812.)

1822. _Die Reise des Doktor Syntax, um das Malerische aufzusuchen. Ein Gedicht frei aus dem Englischen ins Deutsche übertragen._ Lith. v. F. E. Rademacher, Berlin. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1822. _Crimes of the Clergy._ 8vo. Two plates by Thomas Rowlandson.

1823.

_June 13, 1823._ _Not at Home, or a Disappointed Dinner-hunter._ Published by John Fairburn. Broadway, Ludgate Hill.--The dinner-hunter, evidently a well-to-do but miserly person, to whom avarice dictates the pursuit of the victuals of his acquaintances, has called at the well-appointed house of a friend at the exact dinner-hour, since a boy from an adjacent public-house is handing in the beer; but the footman, who recognises the visitor's object, is prepared with the chilling information, 'Not at home.' On the opposite side of the street is represented an _à la mode_ beef shop, to which sundry stout diners are resorting. The execution of this plate is above the average, the etching being worked out with both care and spirit. A companion print, executed with similar finish, was issued by the same publisher.

_June 19, 1823._ _An Old Poacher Caught in a Snare._--The old poacher has evidently come on a dangerous quest, and is fairly trapped. The object of his snares, a handsome and elegantly-drawn lady, is thrusting the old sinner, suddenly disturbed by the unexpected return of the husband, into the embrasure of the fireplace, and endeavouring to conceal the marauder with the board which was used to close the chimneypiece. The injured spouse has evidently been out hunting, and has purposely returned on a more particular quest; whip in hand, he is bursting into the room. The hat and stick of the hoary poacher are thrown to the ground, and the hunter's hounds are tearing in on a good scent which promises fitting retribution to be dealt on the head of the detected evil-doer.

1823. _Hot Goose, Cabbage, and Cucumbers._

_September 18, 1823._ _The Chance-seller of the Exchequer Putting an Extinguisher on Lotteries._ Published by Tom Brown, Peter Street, Westminster.--The Chancellor of the Exchequer is literally extinguishing Fortune, who is represented as a comely and youthful winged female holding a well-filled purse in one hand and a lottery prize for 2,000_l._ in the other. At her feet are caskets of gems and jewels; she is seated on well-filled sacks; behind her is the wheel of fortune. A crowd of Bluecoat Boys are urging their entreaties. 'Come, madam,' cries the Chancellor, 'put on your nightcap.' A chorus of cries of disappointment proceeds from a mob of persons in front. One agonised lady of elegant exterior is praying: 'Stop; let me get a prize first.' A laundress, pointing to the washing-tub, cries, 'Let her alone; take off the soap tax.' 'Shut up the subscription houses,' urges another. A cobbler shouts, 'Give us a lottery, and no leather tax;' another cries out, 'No tax on tallow,' and a parson denounces horse-racing. On the column behind Madame Fortune suggestive placards are pasted: 'Races, King's Cup,' 'Reform Parliament, Public Morals,' and '_Fudge: a Farce_.' Various Ministerial and Parliamentary critics are discussing the new measure. One is saying, 'Little Van [Vansittart] knew better than to abolish a voluntary tax;' another is pointing out, 'He's only a young Chancellor;' while a third, alluding to the popular outcry in relation to existing imposts, remarks, 'Hear, hear! I knew they'd grumble.' A less disinterested party is taking the opportunity to secure prize bags, gold-dust 'pickings and fillings' from the upset of Fortune's cornucopia; he cries, 'Persevere, and the saints shall praise you.'

1823. _Third Tour of Doctor Syntax._ Royal 8vo.

1823. _The Three Tours of Doctor Syntax._ Pocket edition, 3 vols. 16mo. (See description of _The Three Tours of Doctor Syntax_, 1812.)

1823. _Oliver Goldsmith. The Vicar of Wakefield._ 8vo. Illustrated with 24 plates by Thomas Rowlandson. (See 1817.)

1823. _C. M. Westmacott. The Spirit of the Public Journals for the years 1823-4-5._ 3 vols. 8vo. (See 1825.)

1823. _The Toothache, or Torment and Torture._--The village Jack-of-all-trades, a very imposing, grave, and learned professor in appearance, is drawn in the exercise of one branch of his multifarious vocations. A stout wench has called in to have an obstinate grinder dragged out of her head; '_torment and torture_' are mild terms for the operation. The patient is seated in the chair of agony. Factotum's assistant, a lad whose offices seem as diversified as those of his master, has brought an elegant pair of horse-pliers for the delicate process of extraction. A dog is setting up a sympathetic howl; this animal is one of the grotesque nondescripts which Rowlandson delighted to depict after his own theories, careless whether literal critics, unfamiliar with his admirable studies after nature, took upon themselves to assert that he could not master the drawing of animals. From the agonised expression which the artist has succeeded in throwing into the canine features it would appear as if Toby was also a patient attending the dentist's tender offices in his turn. An old country dame who is also distracted with a raging molar is waiting without. One branch of our friend's business is obviously flourishing. Although the rustic practitioner does not display his diploma from the College of Surgeons, or his licence to kill by authority, he has nailed up a certificate with which, it is probable, he is equally satisfied: '_Barnaby Factotum; Draws Teeth, Bleeds and Shaves; Wigs made here; also Sausages. Wash Balls, Black Puddings, Scotch Pills, Powder for the Itch, Red Herrings, Breeches Balls, and Small Beer by the Maker. 'In Utrumque Paratus.'_ There is an air of verisimilitude about this advertisement which reads like an actual transcript.

1825.

1825. _Bernard Blackmantle. The Spirit of the Public Journals for the Year 1824. With Explanatory Notes by C. M. Westmacott._ With illustrations on wood by T. Rowlandson, R. and G. Cruikshank, Lane, and Findlay. London: Published by Sherwood, Jones, & Co., Paternoster Row.

_Advertisement._--In the preliminary notice the editor, Mr. Westmacott, specially alludes to the assistance given by our artist: 'It is with some degree of pride the editor requests his reader's examination of the illustrations to this volume, combining as they do specimens of the first graphic humour of the time; not the least admirable of which are eleven original designs by the veteran Rowlandson, whose facetious pencil appears to acquire additional richness with his lengthened years. For these the editor is more indebted to _personal friendship_ than _motives of interest_, and they are therefore in his estimation doubly valuable.'

_Designs by T. Rowlandson._

Vignette to title.--A group of little Cupids, harnessed, and drawing a car of classic shape, loaded with contributions from the newspapers--

The choicest fancies, grave and gay, They register'd from day to day.

Mrs. Ramsbottom in the Packet. ('Mrs. Ramsbottom's Tour,' _John Bull_.)

Ill-requited Love, or Miss Hannah Maria Juliana Shum. ('Sketches at Bow Street,' _Herald_.)

Two at a Time, or Irish Accidents. ('Sketches at Bow Street,' _Bell's Life in London_.)

The Petticoat Whip, or a Lift for Love. ('Sketches at Bow Street,' _Bell's Life in London_.)

The Charley's Mistake, or Royalty Doubly Endangered. (_Bell's Life in London._)

Teddy the Tailor, or a Troublesome Customer. ('Sketches at Bow Street,' _Bell's Life in London_.)

The Man-of-War's Man, or Sketches of Society. ('Greenwich Hospital,' _Literary Gazette_.)

The Mayor of Portsmouth and the Horse Witness.

The Bold Dragoon, or the Adventure of my Grandfather. ('Tales of a Traveller,' _News of Literature and Fashion_.)

Sporting Extraordinary, or Cockney Comicalities. By Charley Eastup. (_Annals of Sporting and Fashion._)

1825. _Bernard Blackmantle_ (Charles Molloy Westmacott). _The English Spy._ The illustrations designed by Robert Cruikshank. In two volumes. London, 8vo. Plate 32. _R.--A.--ys of Genius Reflecting on the True Line of Beauty at the Life Academy, Somerset House._ By Thomas Rowlandson.--This plate, which is dated June 1, 1824 (published by Sherwood & Jones), was not, we fancy, designed expressly for the _English Spy_, as we cannot fail to recognise it as an adaptation of a very spirited caricature by the artist belonging to a considerably earlier period, and described as _Drawing from the Nude_. In the original the students are dressed in the costume of some forty years anterior to 1824; their quainter persons are delineated with more grotesque spirit and boldness of treatment. Be this as it may, whether Rowlandson has obliged his friend Westmacott by adding new figures, or whether the original design has been otherwise supplemented with later portraits, the female model remains much as she is found in the larger drawing. The artists, who are working from the life in this more modern version, are chiefly Royal Academicians, as far as the privileged circle is concerned, and the portraits are studied with care. M. A. Shee is seated on the ground; one of the Landseers is above him; the person of Benjamin West, arrayed in decorous black, with his knee-breeches, silk stockings, and laced frill, bears a resemblance to a Court physician; Westmacott, Jones, Chantrey, and half a dozen other artists, evident likenesses, are portrayed with a certain attention to securing resemblance. In the right-hand corner, standing at an easel, is the figure of B. R. Haydon; and seated between this unfortunate artist and the fair model is another student, on whose drawing-board are the initials 'C. W.,' which may be intended as a complimentary introduction of the person of Charles Westmacott, the author of the publication in question. This plate, which is a highly interesting addition to Blackmantle's _English Spy_, is the only full-page illustration due to the caricaturist; and Mr. William Bates, B.A., commenting on this contribution in an interesting sketch of Rowlandson's works, pronounces it decisively 'the best plate in the work.' The first volume contains numerous vignettes on wood, which the index describes as being 'from original designs by Cruikshank, Rowlandson, Gillray, and Finlay, engraved by Bonner and Hughes.' These engravings are neither signed nor ascribed to the respective designers mentioned in the index; but, as far as we can trace, very little is offered of Rowlandson's beyond the advertisement of his name.

1831.

THE HUMOURIST.

A COMPANION FOR THE CHRISTMAS FIRESIDE. BY W. H. HARRISON.

_Embellished by Fifty Engravings, exclusive of numerous Vignettes from Designs by_

THE LATE THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, 96 STRAND; AND SOLD BY R. ACKERMANN, JUN., 191 REGENT STREET, 1831.

The author, in his preface, thus refers to the circumstances under which these illustrations by a deceased artist have been imported into an annual:--

'Of the embellishments to which, after the manner of annuals in general, the matter has been adapted, it will be a sufficient recommendation to state that the designs have been carefully selected from a great variety of original drawings by the late Mr. Rowlandson, the humour of whose pencil has been long universally acknowledged, and no expense has been spared to render the engravings worthy of the subjects.'

The principal illustrations are as follows:--

Frontispiece. _The Humourist and her Crew._--The model of a ship, drawn by a donkey, followed by an escort of seamen, who have severally lost a leg in the service of their country; they are singing lustily, and appealing to the charitably inclined.

Vignette. _The Doctors Puzzled._--A circle of grave practitioners.

" " " A learned consultation.

" Death pounding a mortar, as the apothecary's assistant. ('Great allowance to dealers in quack medicines.') This subject occurs in the _Dance of Death_ (1814).

I have a secret art to cure Each malady which men endure.

_Uncle Timothy._--A fat equestrian trying to mount a restive steed.

Vignette. Umbrella flirtations on horseback.

_The March of Intellect._--A bibliophilist doctor rummaging a bookstall.

_The Man of Business._--A grave curmudgeon turning his back on the beguilements of certain pretty oyster-wenches at their stall.

_The Rivals._--A scene outside the premises of Dorothy Dump, clear-starcher, and the box of a tailor. The knight of the thimble has thrust his head out of his narrow window, while he listens in consternation to the railings of the elderly clear-starcher, who is jealously disputing the right of a young and buxomly-developed fair to the attentions of the 'snip' their neighbour.

_An Enemy bearing down: Hope in the distance._--An enraged bull is throwing various rural pedestrians into commotion. A stout lady is endeavouring to escape over a stile; a one-legged veteran is hurrying her movements, as his own position is becoming precarious; and a young damsel is left sprawling on the grass; meanwhile the infuriated brute is receiving a check from a dog, which he is endeavouring to toss.

_Too Hot and too Late._--Several stout Sunday excursionists, at various distances apart, are toiling up a hill in the broiling midday sun to reach a suburban tavern, where is held, as was the custom at that period, an ordinary on holidays for the benefit of Cockney travellers. A stout pedestrian, mopping his forehead, and followed by his panting dog, who takes after his master in obesity, is at the bottom of the hill; the pair are evidently epicures, and the prospect of the ascent with the probability of arriving only to find the viands swept away by the eager appetites of earlier arrivals is evidently filling their minds with dread.

_Fire and Water._--A riverside alehouse; customers on benches, indulging in pots and pipes. A waterman, who is probably indebted to the alewife, is receiving a warm reception on the ground of unliquidated scores of long standing which he has attempted to increase.

_Steering._--An old admiral, driving his wife in a curricle, has some difficulty in restraining the skittishness of a pair of badly-trained steeds, whose eccentric career is threatening the whole concern with annihilation.

_Bar Practice._--Interior of a tavern, guests at tables; in the front of the picture is the saloon; a showy counter-maid is compounding a bowl of punch for a brace of customers, a military and a sporting buck, who are leaning over the bar and exchanging pleasantries with the landlady.

_Getting Cash for Notes._--A blind Scotch bagpiper, going his rounds of the country, is passing a cottage; certain charitable damsels, who are clustered about the portal are acknowledging the piper's notes with coppers.

_A Timekeeper._--A Doctor of Music, in his robes, is beating time with a roll of music, and conducting a mixed choir of girls and lads; all the members of the party are evidently bawling their utmost and straining their tuneful throats.

_The Italian Scribe. An out-of-doors Amanuensis._--A similar subject to that represented in the _Letters from Italy_, republished as _Naples and the Campagna Felice_ (1809-13). (See _The Letter Writer_, 1815.)

_Love in a Box._--A Hebrew gentleman, evidently a Shylock, is gravely trudging along the ways of some Continental city--it may be Venice--with a bunch of keys in his hand; three picturesque and Masaniello-like looking porters are in his train, one is bearing a trunk, and two are carrying, suspended on a pole, a large square receptacle, the contents of which are implied to be of a romantic nature.

_The Pleasures of Solitude._--An old gourmand is solacing his solitary state of dining by an excess of creature-comforts; his servants are bringing in fresh courses to add to a selection of dishes already amply sufficient for the needs of an individual, and his butler is supplying him with wine on an excessive scale.

_Rich and Poor._--A pensioner, minus a leg, and otherwise under the 'slings of adverse fortune,' has called to solicit some trifling assistance from a wealthy sybarite; the poor man's exertions in the representation of his case seem thrown away, as the person solicited is so deaf to his eloquence that, even with the assistance of a trumpet, he fails to hear the appeal of the suitor.

_Village Politicians._--The wiseheads of the hamlet are portentously discussing the contents of a news sheet in the vicinity of the sign of the 'Bugle Horn.'

_A Disciplinarian._--A Zantippe of a wife, with a flood of invective, is driving her cowed husband before her, whose advance is further accelerated by the liberal exercise of a stout cudgel, which is raining strokes on the bent back of the unmanned and overawed victim.

_An Admirer._--A comely maiden, standing with her pitcher beside a pump, is asking assistance to raise her load of an idiotic rustic dandy, who is staring and grinning his imbecile admiration with a face marvellously well fitted to fill a horse-collar, but who does not otherwise respond to the girl's request.

_The Cow Doctor._--A consultation over the condition of a suffering cow.

_Taking a Horse to Water._--In this case, it rather seems, the steeds are taking their riders there and leaving them--soused in the brook.

_Lost and Won._--A gaily-apparelled nymph is leaning over the palings of a waterside landing-stage. A waterman is looking on in dudgeon; he is evidently the 'loser;' whilst the fickle fair is making tender demonstrations in favour of a dashing young soldier, whose uniform and martial trim have evidently won the changeable lady's heart.

_A Man of Colour._--At the portico of a villa stands the black butler, who is emptying a plateful of victuals into the apron of a comely female tramp, with a child slung on her back; the _darkie_ is evidently moved by the attractions of the gipsy, since his face expresses the most unqualified admiration for her personal allurements.

_Civic Enjoyments._--A dinner party assembled in a Guildhall. The health of the entertainer is being uproariously received as a 'standing toast' with full-charged bumpers.

_A Siege._--A highly genteel, youthful, and elegantly clad lady--whether maid or widow it is difficult to determine--is surrounded by a crowd of suitors, recruited from pretty nearly all the professions, and of all ages and sizes. The object of this profuse idolatry, perfectly unmoved, is waving off her too presumptuous assailants, whose assiduities interfere with her comfort.

_Recruiting._--A party of soldiers on ''listing' service in a country town have secured certain volunteers. One of the new recruits, a sprightly damsel, is creating no little consternation in the breasts of the villagers by joining the troopers' march; a cobbler and a tailor, armed with the implements of their trade, are offering some show of resistance to the abduction of this Helen by a smart young Paris 'in the line;' but these deserted swains are kept at a respectful distance by the bayonet of the gay Lothario's comrade.

_Knowledge of the World._--A village pedagogue is instructing his pupils in that elaborate branch of fashionable education (according to school prospectuses at the beginning of the century), 'the use of the globes.' Certain mischievous urchins are taking advantage of the preceptor's preoccupation to insert quill pens into the 'Busby' wig of the learned Doctor.

_Modern Antiquities._--A variation of the larger engraving on this subject published (by Tegg) under the same title.

_A Man of Taste._--A fat old voluptuary, in a 'nautical rig,' in person not unlike (and probably expressly designed for) the convivial and yachting alderman, Sir William Curtis, is critically inspecting through his eyeglass a small selection of shellfish held out for his gratification by a pretty shrimper-maid of pronounced personal graces.

_Looking a Broadside._--A stout party of the old school, of great breadth and solidity, is looking daggers at a dandified fop of the period, a mere scarecrow of a figure, who is 'quizzing' the substantial piece of antiquity through a spyglass. The indignation of the old boy is barely appeased by the soothing caresses of a tender and pretty maiden who is clinging to the incensed veteran.

_Credulity._--A fashionable, elegant, and good-looking lady is seated at her breakfast-table, while her maid is arranging the apartment. A messenger or letter-carrier has just brought a _billet-doux_, which the confiding beauty is eagerly perusing.

_Indecision._--An obese prebendary, his gouty limb supported on cushions, is in all the perplexities of _embarras de choix_; one maiden is bringing in poultry, as appropriate to the day's dinner, shortly to follow in due course; and a fish-girl has offered an equally attractive choice of fish. The arrival of these luxuries and the necessity of selecting between them is vexing the soul of the good man.

_Spoiling a Cloak and Making a Fortune._--Another version of the traditional episode of the gallant Raleigh laying down his mantle at the feet of his sovereign lady Queen Elizabeth to bridge over an undesirable crossing.

_A Military Salute._--A gallant officer engaged in amorous dalliance with a tender-hearted fair, who is leaning out of a cottage window to receive the courtesies of the dashing warrior. Another version of _Kissing for Love, or Captain Careless Shot Flying by a Girl of Fifteen, who unexpectedly popped her Head out of a Casement_ (May 1810).

_A Bagman._--A tired commercial traveller, cloaked, booted, and spurred, is alighting at the 'Woolpack;' his horse is taken to the stable; his saddle-bag is under his arm; and the buxom and broadly-expanded hostess of the inn is standing at the portal to bid the weary pilgrim welcome.

_Obtaining the Countenance of the Minister._--An Italian itinerant vendor of 'images' is offering a citizen the chance of purchasing the head of the Government on easy terms, as far as his plaster bust is concerned.

_Training._--A jockey, with his saddle strapped on his back, ready to mount for the race, is receiving the final and special instructions of his patron, a venerable and evidently deep file, well versed in the iniquities of the turf, whose face wears an expression of experienced and long-trained cunning. Another version of _Tricks of the Turf, or Settling how to Lose a Race_ (1821).

_An Exhibition._--The fashionable attendants at a gallery of pictures. All the spectators are lost in wonder and admiration at the collection of paintings. The figure of the Duke of Gloucester is 'taken off,' with that of other visitors. A partial transcript of the _Portrait Painters Gallery.--Adventures of Johnnie Quæ Genus_.

_A Banquet._--Three _convives_ are enjoying their soup, seated in a sort of supper-box; the French _chef_ is prominently shown before his cooking-range, busied in the compounding of some extensive _pot au feu_.

_The Ratcatcher._--As the title expresses, the figure of a professional ratcatcher, with a cage full of prisoners, which he is exhibiting to a venerable couple--probably his employers; his dogs are excited at the prospect of the sport. Another version of Rowlandson's _London Characters_.

_A Court Day._--A small rendering of _A Levée at St. James's Palace_. The Beef-eaters are on duty, and crowds of courtiers and distinguished representatives, clerical, military, diplomatic, civil, foreign, &c., are proceeding through the reception-room for the privilege of making their bow to royalty.

_A Dark Prospect._--A master-sweeper and his lad are seated, on their soot-bags, by the can of a pretty and picturesquely-attired dairymaid, who has supplied the dark customers with cups of 'clean milk from the cow.'

_Symptoms of a Dinner._--A meeting of dignified prelates of the Church; amongst the company are certain bigwigs, bishops, who are received with flattering deference by the lower clergy. Two eager members of the cloth, more set on the serious gratifications of a Convocation festival than the empty ceremonial courtesies of the hour, are examining a sun-dial in the foreground and comparing it with their watches, in expectation of dinner-time.

_The Studio._--A painter, in Court costume, is daubing away boldly at his picture, surrounded at a respectful distance by a circle of _dilettanti_ connoisseurs, all of whom sport spectacles or eyeglasses; these critical spectators are engaged in cold contemplation of the work before them.

_Vignette._--A second group of _cognoscenti_, whose faces in this case express more interest and admiration, and justly so, since the work before them appeals to their tenderest susceptibilities; it is one they can all appreciate--a lively turtle, ready to be converted into real soup. A number of clergymen are following the lead of their bishop, who, excellent man, is evidently longing to bless the good things which beneficent Nature has here provided for the faithful.

_Hydrophobia: the Church in Danger._--A pastor is running his hardest, pursued by a dog, which we are to suppose is suffering from _rabies_; the venerable prelate is doing his best to keep in advance of his pursuer, who in turn is followed by a _possé_ of eager philanthropists, armed with pitchforks, flails, spits, pokers, choppers, shovels, and even pistols and guns, which are being discharged ineffectually, as the dog is managing to keep ahead of his would-be executioners.

_The Way to Fill a Wherry._--A party, including the fair, have secured their places in a wherry at the riverside; the waterman is taking in one more customer before starting, an elephantine and venerable gentleman, whose advent has filled the occupants of the bark with alarm, the aquatic party evidently anticipating that they will be swamped at the very least by the ponderous weight of the last comer, who is vainly trying to find a seat in the boat without capsizing it.

_A View of the Coast._--A village inn, with a blind fiddler and his daughter stationed upon the green outside; almost identical with the subject published by Ackermann in Rowlandson's _World in Miniature_ (see April 1, 1816).

_Operatives._--The title of this plate goes by contraries. _Inoperatives_ should be the description. A pair of soakers are sunk in heavy slumber over the table of the taproom; a brace of industrious working-men, whose ambitions in the direction of exertion are limited to 'raising their elbows,' 'tilting measures,' 'reducing the liquid contents of receptacles for intoxicants,' and similar performances of an anti-temperance order.

_Home, Sweet Home._--A drunken convivialist is, pipe in hand, unconsciously approaching the spot whose praises he is tipsily chaunting, quite unprepared for the reception that is awaiting his roystering at the hands of his outraged and furiously indignant wife, who is anticipating his arrival with a cane prudently provided in advance for further arguments upon the _douceurs_ of his rooftree.

The last print in Volume I. of _The Humourist_ is a vignette representing a bench of fox-hunting justices, who have gone fast asleep in their respective armchairs, their legs on the table; bottles and bowls strewing the floor, and their dogs, scattered around, sunk in sleep as heavy as that indulged in by their masters. A transcript of the plate _Johnny Quæ Genus Attending on a Sporting Finale--Adventures of Johnny Quæ Genus_ (1832).

The illustrations to Volume II. of _The Humourist_ are supplied by another hand. It does not contain any further rendering of subjects after Rowlandson.

CHRONOLOGICAL SUMMARY OF SUBJECTS

SOCIAL AND POLITICAL CARICATURES,

ENGRAVED BY OR AFTER

THOMAS ROWLANDSON.

_WITH HIS CONTRIBUTIONS TO BOOK ILLUSTRATION

IN THE ORDER OF PUBLICATION._

SUMMARY OF ROWLANDSON'S CARICATURES.

1774.

June 8. A Rotation Office. Pub. by H. Humphrey, Bond St.

" The Village Doctor. Do.

1780.

Mar. Special Pleading. Pub. by A. McKenzie, 101 Berwick Street, Soho.

July 18. The School of Eloquence. Probably designed by Rowlandson, and badly etched by some one unknown. Pub. by Archibald Robertson, Savile Passage.

Scene at Streatham. Bozzi and Piozzi.

Sept. 1. Italian Affectation. (Real characters.) Pub. by T. Rowlandson and J. Jones, at 103 Wardour Street, Soho.

How happy could I be with either Were t'other dear charmer away.--_Brookes._

18. Sir Samuel House. Do.

Do. Do.

Nov. 13. Naval Triumph, or Favours Conferred.

1781.

June 30. The Power of Reflection. I. Harris, Sweeting's Alley, Cornhill.

Oct. 28. E O, or the Fashionable Vowels.

Nov. 27. Brothers of the Whip. A. Grant del.

27. Charity Covereth a Multitude of Sins. H. Humphrey, 18 New Bond Street.

Dec. The State Watchman Discovered by the Genius of Britain Studying Plans for the Reduction of America.

(N.D.) Luxury.

(N.D.) Bob Derry of Newmarket.

1783.

Feb. 11. Long Sermons and Long Stories are apt to Lull the Senses. Pub. by W. Humphrey.

Oct. 17. Amputation. Republished. (See 1793.)

(N.D.) The Rhedarium. (1783?)

(N.D.) Interior of a Clockmaker's Shop. (1783?)

The Discovery. (Political.)

Dec. 22. Great Cry and Little Wool.

The Times. Regency of the Prince.

Scene in a farce called the Quaker.

Two New Slides for the State Magic Lantern.

1784.

Jan. 1. The Pit of Acheron, or the Birth of the Plagues of England.

4. The Fall of Dagon, or Rare News for Leadenhall Street.

7. The Loves of the Fox and the Badger, or the Coalition Wedding.

19. His Highness the Protector.

23. The Times, or a View of the Old House in Little Britain.

24. A Sketch from Nature.

Feb. Long Sermons and Long Sieges are apt to lull the senses.

Feb. 3. The Infant Hercules.

" Britannia Roused, or the Coalition Monsters Destroyed.

7. Billy Lackbeard and Charley Blackbeard Playing at Football.

Mar. 1. The Apostate Jack Robinson, Political Ratcatcher.

3. A Peep into Friar Bacon's Study.

8. Master Billy's Procession to Grocers' Hall.

11. The Champion of the People.

26. The State Auction.

29. The Drum-Major of Sedition.

30. Sir Cecil's Budget for Paying the National Debt.

31. The Hanoverian Horse and the British Lion.

April 1. The Duenna and Little Isaac.

3. The Two Patriotic Duchesses on their Canvass. (Duchesses of Portland and Devonshire.)

4. The Incurable. 'My Lodging is on the Cold Ground.'

8. The Rival Candidates.

10. The Parody, or Mother Cole and Loader. (Vide Foote's 'Minor,' p. 29.)

12. The Poll.

12. The Devonshire, or most Approved Method of Securing Votes.

12. The Westminster Watchman.

14. Lords of the Bedchamber.

20. The Covent Garden Nightmare.

22. King's Place, or a View of Mr. Fox's Best Friends.

22. The Wit's Last Stake, or Cobbling Voters and Abject Canvassers.

22. Madame Blubber on her Canvass. (See verses.)

22. Political Affection.

23. Reynard put to his Shifts.

29. Madame Blubber's Last Shift, or the Aerostatic Dilly.

29. The Case is Altered.

30. Procession to the Hustings.

May 1. Every Man has his Hobbyhorse.

4. _La Politesse Française_, or the English Ladies' Petition to his Excellency the Mushroom Ambassador.

4. Wisdom Led by Virtue and Prudence to the Temple of Fame.

11. The Westminster Mendicant.

11. A Coat of Arms. Dedicated to the newly-created Earl of Lonsdale.

12. A New Insect. A Buck. (It is not certain the print is by Rowlandson.)

18. The Westminster Deserter Drummed out of the Regiment.

18. Preceptor and Pupil--

Not Satan to the ear of Eve Did e'er such pious counsel give.

18. The Departure.

18. Secret Influence Directing the New Parliament.

20. For the Benefit of the Champion.

25. Liberty and Fame Introducing Female Patriotism (Duchess of Devonshire) to Britannia.

28. The Petitioning Candidate for Westminster--

From the heath-covered mountains of Scotia I come.

July 24. 1784, or the Fashions of the Day.

Aug. 8. The Vicar and Moses. (Song heading.)

Sept. 5. Manager (Garrick) and Spouter. T. R. Smith, 83 Oxford Street.

25. Bookseller and Author. H. Wigstead del., S. Alken fec. Pub. by S. W. Fores. (Repub. July 1, 1802.)

25. The Historian Animating the Mind of a Young Painter.

(N.D.) English Curiosity, or the Foreigner Stared out of Countenance. (Republished. See 1794.)

(N.D.) Counsellor and Client.

Nov. 1. New-invented Elastic Breeches. Nixon inv. Pub. by W. Humphrey.

8. Money Lenders.

8. Apollo and Daphne. (Broderip and Wilkinson.)

25. The Minister's A---- (_Vide_ 'Gazetteer,' Nov. 11.)

25. A Peasant Playing the Flute. After J. Mortimer.

Opening a Vein.

Lunardi. (See 1785.)

Dec. 10. Anticipation. (Chr. Atkinson, Contractor, in the Pillory.)

10. The Rhedarium. (See 1783.)

10. Colonel Topham Endeavouring with his Squirt to Extinguish the Genius of Holman. (See 1785.)

10. Billingsgate.

(N.D.) John Stockdale, the Bookselling Blacksmith, one of the King's New Friends. (_Vide_ 'Intrepid Magazine.')

Rest from Labour. Sunny Days.

Miller's Waggon. Pub. by E. Jackson.

A Timber Waggon. Do.

Country Cart-horses. Do.

Dray-horses, Draymen, and Maltsters. Do.

Higglers' Carts. Do.

A Postchaise. Do.

A Cabriolet. Do.

The Dead-alive. H. W. pl. 1; do. pl. 2.

ROWLANDSON'S IMITATIONS OF MODERN DRAWINGS. (Folio) 1784-8.

F. Wheatley. A Coast Scene. Fishermen and Fisherwomen. Do. Do. The companion. Gainsborough. A Sketch. Trees, Cottages, &c. Do. Cattle. Riverside. F. Wheatley. A Fair. Bartolozzi. A pair of Cupids. Barret and Gilpin. Mares and Foals, &c., in landscape. Do. Cattle, in landscape. Gainsborough. Landscape sketch. Mortimer. A Storm at Sea. Gainsborough. Cows. Zucchi. Harmony. Two nymphs singing, another playing a lyre. Mortimer. The Philosopher. Barret. Ruins; and a Park. Mortimer. A Study. Barret. Ruins, &c. Gainsborough. A Cottage, &c. Do. An open landscape. Mortimer. Scene in 'The Tempest,' from Shakspeare. Repub. 1801, by J. P. Thompson. G. Barret. Lake Scene. Sawrey Gilpin, R.A. Horses. Geo. Holmes. The Sage and his Pupil. Michael Angelo. Leda and the Swan. G. B. Cipriani. Sleeping Venus and Love.

1785.

The Times (George III. on throne, &c.).

A-going--a-going.

Gone.

Jan. 7. The Fall of Achilles.

24. Mock Turtle. Pub. by S. W. Fores.

Mar. 2. The Golden Apple, or the Modern Paris. Prince of Wales, Duchesses of Rutland, Devonshire, and Gordon. Pub. by J. Phillips, 164 Piccadilly.

3. The Admiring Jew. Etched 1784.

7. Defeat of the High and Mighty Balissimo and his Cecilian Forces on the Plains of St. Martin's.

Mar. 27. The Surprising Irish Giant of St. James's Street.

Apr. 12. The Wonderful Pig.

May 27. The Waterfall, or an Error in Judgment. Originally pub. May 27, 1784.

June 28. Vauxhall Gardens. Aquatinta by F. Jukes; eng. by R. Pollard. Pub. by J. R. Smith.

July 1. Comfort in the Gout. Repub. by T. R., July 1, 1802.

24. The Slang Society.

Aug. 11. Introduction.

11. Colonel Topham Endeavouring with his Squirt to Extinguish the Genius of Holman. (See Dec. 1784.)

Sept. 5. Aerostation out at Elbows. Vincent Lunardi.

30. Too Many for a Jew. S. Alken, Soho.

The Consultation.

The Convocation.

Oct. 1. An Essay on the Sublime and Beautiful.

1. The Maiden Speech. (Companion.)

1. A Cully pillaged.

1. Copperplate Printers at Work.

1. A Bed-warmer. H. Wigstead del.

1. Temptation. Do.

1. Grog on Board. (See Jan. 1794.)

1. Tea on Shore.

5. Captain Epilogue (Cap. Topham) to the Wells (Mrs. Wells).

Nov. 24. Persons and Property Protected by Authority.

28. Doctors Differ. Pub. by S. W. Fores.

30. The Sad Discovery, or the Graceless Apprentice. Pub. by J. R. Smith, 83 Oxford Street.

30. Intrusion on Study, or the Painter Disturbed.

31. Jockeyship. Pub. by J. R. Smith.

31. An Italian Family. (Repub. 1792.)

31. A French Family. (Rep. 1790.)

Dec. 15. Courtship in High Life. H. Wigstead del.

15. Rustic Courtship. Do.

15. City Courtship.

15. Filial Affection, or a Trip to Gretna Green.

17. Reconciliation, or the Return from Scotland.

21. Botheration. T. R. Alken. Dedicated to the Gentlemen of the Bar. Pub. by W. Hunter.

21. The Loss of Eden, and Eden Lost. Gen. Arnold, and Eden, Lord Auckland.

Sympathy, or a Family on a Journey.

John Gilpin's Return to London. Designed and executed by H. Wigstead; aqua., F. Jukes.

Harmony. Effects of Harmony.

(N.D.) Discord (?)

Tastes Differ.

Nap in the Country.

Nap in Town. (Companion.)

Sea Amusement, or Commander-in-Chief of 'Cup and Ball' on a Cruize.

Dec. 26. French Travelling, or the First Stage from Calais.

26. English Travelling, or the First Stage from Dover.

(N.D.) Toying and Trifling.

1785 (?) Opera Boxes. (Four plates.)

1786.

Jan. 1. 'The Supplemental Magazine.' S. W. Fores.

1. Private Amusement. (Repeat.) Do.

5. Box-Lobby Loungers. Desig. H. Wigstead. Pub. by J. R. Smith, 83 Oxford Street.

13. Love and Learning, or the Oxford Scholar.

Feb. 10. Sketch of Politics in Europe. Birthday of the King of Prussia. Toasts on the occasion.

Mar. 6. La Négligé. Desig. by 'Simplex Mundities.' Executed by T. R. Pub. by S. W. Fores.

7. Captain Epilogue. (Repeated, with the addition of a notice-board, 'A Prospectus for the World and Fashionable Advertiser.')

7. An Ordnance Dream, or Planning Fortifications.

7. Luxury. Misery.

8. The Morning Dram.

The Polish Dwarf (Borowlowski), Performing before the Grand Seigneur.

29. The Sorrows of Werter.

The Last Interview.

April 1. The Vicar and Moses.

1. The Dying Patient, or the Doctor's Last Fee. Pub. by H. Brookes, Coventry Street.

(N.D.) Brewers' Drays.

(N.D.) Youth and Age (?)--Contrasts.

(N.D.) Sailors Carousing (?)

Return from Sport.

May 1. The panting Lover. Pub. by J. Phillips.

6. A Theatrical Chymist. (Holman _versus_ Topham.)

More of Werter. The Separation: Charlotte preserved from Destruction by Albert and Hymen, whilst Werter in an access of frenzy puts an end to his existence. Designed by Collings.

6. A Box-Lobby Hero: the Branded Bully, or the Ass Stripped of the Lion's Skin.

June 5. College Jockies: The Landlord sweating for his cattle.

5. Slyboots.

July 20. Covent Garden Theatre.

Sept. 1. _Outré_ Compliments.

25. The Tythe Pig.

Oct. 1. The Jovial Crew. S. W. Fores.

20. A Visit to the Uncle. E. Jackson, Marylebone Street. (See 1794.)

20. A Visit to the Aunt. Do. (See 1794.)

20. The pretty Barmaid.

20. The Putney Disaster, or Symptoms of Ducking.

Nov. 20. Music hath charms to soothe the savage breast.

Dec. 30. The Word-eater. (Fox.) (See 1788.)

Scottifying the Palate.

Boswell, J., the Elder. Twenty Caricatures by T. R., in illustration of Boswell's Journal of a Tour in the Hebrides. Sm. folio. Pub. by E. Jackson, Marylebone Street.

Illustrations to Poems of Peter Pindar (Dr. Wolcot). 4to., ed., 1786-92. Printed for G. Kearsley.

Dec. 28. The Bachelor.

The Married Man. H. Wigstead: S. Alken fecit.

1787.

Jan. 1. London Refinement.

1. Country Simplicity.

Going out in the morning. Scene, Windsor Forest.

The Dinner. Drawing signed 'T. R.,' 1787. Repub. 1798. (See 1798.)

11. Uncle George and Black Dick at their New Game of Naval Shuttlecock.--

Cooks, scullions, hear me, every mother's son.--_Peter Pindar._

Is this your Louse?

And now his lifted eyes the ceiling sought.--_Peter Pindar._

Peter's Pension. ('Peter Pindar.')

Odes for the New Year. do.

The Triumph of Sentiment. } Pub. by Jackson. The Triumph of Hypocrisy. }

Transplanting of Teeth. Pub. by J. Harris, 37 Dean Street, Soho. (Baron Ron.)

Post Inn.

Country Inn.

A Blacksmith's Shop.

A Country Inn. Pub. by J. Harris.

The Fisherman's Family. Do.

Shoeing--The Village Forge.

A Stage Coach. Repub. 1803.

A Postchaise. Aquatint.

A Rural Halt.

Haymakers.

Brewer's Dray; Country Inn.

May 9. The Brain-sucker, or the Miseries of Authorship.

Aug. 1. A College Scene, or a Fruitless Attempt on the Purse of Old Square-Toes. Eng. by E. Williams.

Polygamy, ditto.

Oct. 15. Stage Coach Setting out from a Posting-house.

Cribbage Players.

18. Tragedy Spectators. Pub. by T. R. as the Act directs, 50 Poland Street. (Repub. Oct. 8, 1789.)

Comedy Spectators. Do.

Love in the East.

26. A Cribbage Party in St. Giles's disturbed by a press gang.

Nov. 5. Reformation, or the Wonderful Effects of a Proclamation.

1787 (?) Art of Scaling.

Embarking from Brighthelmstone to Dieppe.

A Coast Scene. Rising Gale.

Deer Hunting. A landscape scene.

Fox Hunting. Companion.

Dec. 15. Post Boys and Post Horses at the 'White Hart 1787 (?) Inn.' Pub. by J. Harris.

Dec. 15. Modish. Pub. by S. W. Fores.

Prudent. Do.

18. A Travelling Knife-Grinder at a Cottage Door.

View on the French Coast.

A Peep at St. James's.

Civility.

Mad Bull on Westminster Bridge.

Going out in the Morning.

Returned from a Fox Chase.

The Welcome Home.

1788.

The Meet. Hunting Morning. (One of series.)

The Run.

In at the Death.

The Dinner.

Feb. 20. The Humours of St. Giles's. Pub. by Harmer, engraver, 161 Piccadilly.

Mar. 1. The Hypochondriac. Desig. by James Dunthorne. Pub. by T. Rowlandson, 50 Poland Street.

6. The Q. A. Loaded with the Spoils of India.

29. Ague and Fever. Designed by James Dunthorne. Pub. by T. Rowlandson, Poland Street.

'Ah! let me, Sire, refuse it, I implore.' ('Peter Pindar.')

Apr. 16. The Political Hydra. (Fox.)

July 9. Going to Ride St. George. A Pantomime lately performed at Kensington before their Majesties.

22. Old Cantwell Canvassing for Lord Janus (Hood).

July 27. Effects of the Ninth Day's Express from Covent Garden just Arrived at Cheltenham. (Lord John Townshend.)

Housebreakers. Repub. Aug. 1, 1791, by S. W. Fores, 3 Piccadilly.

(N.D.) Love and Dust.

Scavenger's Cart.

Aug. 1. The School for Scandal. Pub. by V. M. Picot.

Nov. 22. False Courage (a duel). S. W. Fores.

25. Filial Piety. (P. W. and George III.)

Englishmen in November.--Frenchmen in November. Pub. by S. W. Fores.

29. Lust and Avarice. Pub. by Wm. Rowlandson, 49 Broad Street, Bloomsbury.

Luxury and Desire. Do.

Dec. 20. The Prospect before us. (Half-a-Crown Regency.)

29. A Touch at the Times.

The English Address. Wigstead. (T. R.)

Stage Coach Setting Down at the Dolphin Inn.

An Epicure. (A Nice Fish?) Repub. 1801.

A Comfortable Nap in a Postchaise.

A Fencing Match.

30. The Word-eater. (Fox.) (See 1786.)

Sir Jeffery Dunstan Presenting an address from the Corporation of Garratt.

Dressing for a Birthday.

31. Blue and Buff Loyalty. (Dr. Munro.)

A Night Auction.

A Print Sale. (Hutchins, auctioneer, and his wife.)

1788 (?) The Pea-cart.

Simon and Iphigenia.

1789.

Jan. 1. The Vice-Queen's Delivery at the Old Soldiers' Hospital in Dublin.

8. The Modern Egbert, or the King of Kings.

16. A Coronation in Pall Mall.

21. Loose Principles.

28. Suitable Restrictions. (Traces of Rowlandson's style.)

The Pitt Fall.

State Butchers.

Neddy's Black Box.

30. The Propagation of a Truth. Long Slip. (13 figures.)

Grog on Board. Signed date 1789. (See 1785.)

Tea on Shore. Pub. by S. W. Fores. Do.

Feb. 1. Hare Hunting. S. W. Fores.

The Death.

The Breakfast.

1. Careless Attention. Pub. by J. Griggs, 216 Holborn.

7. A New Speaker.

7. Britannia's Support, or the Conspirators Defeated.

Chelsea Reach.

Bay of Biscay.

Hospital for Lunatics.

15. Going in State to the House of Peers, or a Piece of English Magnificence.

Mar. 6. A Sweating for Opposition. By Dr. Willis, Dominiswealy & Co.

7. The Irish Ambassadors Extraordinary: a Galantee Show.

10. Edward the Black Prince Receiving Homage. (Traces of T. R.'s style.)

Mar. 13. Agreeable Companions in a Postchaise. (Comp. to Comfortable Nap in a Postchaise) 1788.

15. Irish Ambassadors Extraordinary.

16. Do. do. Return, or Bulls without Horns.

Apr. 1. Interruption, or Inconveniences of a Lodging House. (1789?)

4. The Rochester Address, or the Corporation going to Eat Roast Pork and Oysters with the Regent.

29. The Grand Procession to St. Paul's on St. George's Day, 1789. Etched by T. R., aqua. by Aiken. Pub. 1790, by Messrs. Robinson.

Don't he Deserve it? Pub. by W. Holland.

She don't Deserve it. Do., 50 Oxford Street.

Domestic Shaving.

A Penny Barber.

A Brace of Blackguards.

June 20. A Sufferer for Decency.

1789 (?) Racing Series. The Course.

" Racing Series. The Betting Post.

" Racing Series. The Mount.

" Racing Series. The Start.

July 20. The High-mettled Racer. S. W. Fores.

(N.D.) Filial Affection, or a Trip to Gretna Green. (See 1785.)

Aug. 4. A Fresh Breeze.

A Cart Race. Plate dated 1788.

Oct. 8. Tragedy Spectators.} } (See 1787.) Comedy Spectators. }

23. An Antiquarian. Pub. by Wm. Holland, 50 Oxford Street.

A Visit to the Tombs in Westminster Abbey.

24. Sergeant Recruiter. (Duc d'Orleans.)

Nov. La Place des Victoires, à Paris. Aqua. by S. Alken.

A Dull Husband.

29. Mercury and his Advocates Defeated, or Vegetable Intrenchment.

1790.

Beatrice fishing for a Coronet.

Jan. 1. Tithe Pig.

1. A Butcher.

1. A Roadside Inn.

10. Frog Hunting.

Feb. 20. Repeal of the Test Act. Fores' Museum.

Toxophilites. Pub. by E. Harding, 132 Fleet Street. (See 1791.)

Dressing for a Masquerade (Cyprians).

Dressing for a Birthday (Ladies).

A French Family. (See An Italian Family, 1792.)

Mar. A Kick-up at a Hazard Table. (Large plate.)

May 29. Who Kills First for a Crown.

Philip Quarrel (Thicknesse), the English Hermit, &c.

An Excursion to Brighthelmstone, made in the year 1782, by Henry Wigstead and Thomas Rowlandson, with eight engravings by T. R. Pub. by Geo. and J. Robinson.

June 1. Race Ground, Brighton. (Oblong folio, 1790). Alken fecit. Pub. by Robinsons, Paternoster Row.

1. Saloon at the Pavilion, Brighton.

1790(?) Waiting for Dinner.

" At Dinner.

" After Dinner.

" Preparing for Supper.

" Fox-Hunters Relaxing.

1790 (?) Evening. (about 1790.)

A Christening.

The Duenna and Little Isaac. Engd. by W. P. Carey.

Aug. 6. Sheets of Picturesque Etchings.--Cattle at the River. The Horse Race. A View in Cornwall. The River, Towing Barges, &c. Rustic Refreshment. Winter Pastime: Skating on a frozen River.

Sept. 1. A Dressing Room at Brighton.

Oct. 20. Four o'clock in Town. Pub. by S. W. Fores.

20. Four o'clock in the Country. Do.

Vide 'Benevolent Epistle to Sylvanus Urban'--

With anger foaming and of vengeance full, Why belloweth John Nichols like a Bull?

A series of miniature groups and scenes; pub. by M. L., Brightelmstone, and H. Brookes, Coventry Street, London.

Smollett (Tobias) Miscellaneous Works, &c. Six vols. 8vo. Plates by Rowlandson. Edinburgh. (First collected edition.)

Rowlandson's Outlines, in 16 plates. Folio. Published at Fores' caricature warehouse, 'where may be seen the completest collection of caricatures in the kingdom, also the Head and Hand of Count Struenzee.--Admittance one shilling.'

Plates 1-4, dated March 8, 1790. Plates 5-8, " June 18-20, 1790. June 27-30. Plates 9-12, " Jan.-Aug. 1791. Plates 13-14, " June 1, 1792.

1791.

Jan. 13. The Prospect before us. (Pantheon.)

13. The Prospect before us. (Companion.)

30. Toxophilites (large plate). Pub. by E. Harding. (See 1790.)

31. Sheets of picturesque etchings.--A Four in Hand. The Village Dance. The Woodman Returning. River Scene, Mill, Shipping, &c. Pub. by S. W. Fores.

31. Sheets of picturesque etchings.--Huntsmen Visiting the Kennels. Haymakers Returning. Deer in a Park, Cattle, &c. Shepherds. Horses in a Paddock. Cattle Watering at a Pond. A Piggery. Pub. by S. W. Fores.

Traffic ('Old Clo'men.') (See 1794.)

Feb. 4. Chaos is come again. (Companion.)

Mar. 1. The Attack.

22. Bardolph Badgered, or the Portland Hunt. (? Row.)

Apr. 12. An Imperial Stride. (? Rowlandson or West.)

25. The Grand Battle between the famous English Cock and Russian Hen. (? Rowlandson.)

May 16. The Volcano of Opposition.

17. The Ghosts of Mirabeau and Dr. Price Appearing to Old Loyola.

18. A Little Tighter. Pub. by S. W. Fores.

A Little Bigger. Do.

Cold Broth and Calamity.

June 28. The Grand Monarque Discovered, or the Royal Fugitives Turning Tail. Pub. by S. W. Fores.

Aug. 1. Housebreakers. (Etched, dated 1788.)

1. Damp Sheets.

Aug. 12. English Barracks. Pub. by S. W. Fores. Aqua. by T. Malton.

12. French Barracks. S. W. Fores. Aqua. T. Malton.

Oct. 28. Slugs in a Sawpit.

Nov. 22. How to Escape Winning.

How to Escape Losing.

1791(?) Angelo's Fencing Room. (See Memoirs.)

(N.D.) 1791 (?) A Four in Hand.

1791 (?) Inn Yard on Fire.

" A Squall in Hyde Park.

" Illustrations to Fielding's 'Tom Jones.' Pub. by J. Siebbald, Edinburgh. (Repub. 1805.)

Délices de la Grand Bretagne. Two plates by Rowlandson. Pub. by Wm. Birch, Hampstead Heath.

1792.

Jan. 1. St. James's and St. Giles's.

Oddities. Wigstead.

1. Do. do.

1. The Bank. Pub. by T. Rowlandson, Strand.

Feb. Work for Doctors' Commons.

Mar. A Dutch Academy. T. R., 52 Strand.

Apr. 1. A Lying-in Visit.

May 29. Six Stages of Marring a Face. Dedicated to the Duke of Hamilton.

29. Six Stages of Mending a face. S. W. F. Dedicated to the Rt. Hon. Lady Archer.

June. Ruins of the Pantheon after the Fire which happened Jan. 14, 1792. Rowlandson and Wigstead del., Strand.

July 18. The Chairmen's Terror.

Leaving a Levée, St. James's Palace. Pub. by T. Rowlandson, 52 Strand.

Aug. 1. 'Roderick Random.' Lieut. Bowling Pleading the Cause of Young Roy to his Grandfather.

11. Ditto. The Passengers from the Waggon Arriving at the Inn.

Oct. 1. On her Last Legs.

Nov. 5. English Travelling, or the First Stage from Dover. (See companion, Dec. 26, 1785.)

French Travelling, or the First Stage from Calais. (See 1785.)

5. Studious Gluttons.

5. Convocation. S. W. F.

5. Philosophy run Mad, or a Stupendous Monument to Human Wisdom.

(N. D.) Art of Scaling.

Fielding, H. Adventures of Joseph Andrews and his Friend, Mr. A. Adams. 8vo.

Nov. 5. An Italian Family. (Pub. 1785.) See A French Family (companion, 1790).

5. The Grandpapa. Wigstead. (See 1794.)

5. Cold Broth and Calamity.

5. Botheration. Dedicated to the Gentlemen of the Bar. (See 1785.)

5. The Hypochondriac. Desgd. by James Dunthorne. (See 1788. Ague and Fever.)

25. Benevolence.

Dec. 1. Beauties. Pub. by S. W. Fores.

The Contrast, 1792. Which is Best? (British Liberty, French do.) Pub. Jan. 1, 1793. Desgd. by Lord Geo. Murray.

1793.

Jan. 1. The Old Angel, at Islington. Pub. by S. W. Fores, 3 Piccadilly.

8. Reform Advised, Reform Begun, Reform Complete.

New Shoes. Pub. by S. W. Fores.

Major Topham (of the World) and the Rising Genius of Holman. (See 1785.)

Three Illustrations to Smollett. Pub. by J. Siebbald. (See 1791.)

May 25. A Tit-bit for the Bugs. S. W. F.

25. Melopoyn (a distressed poet) and the Manager. Pub. by J. Siebbald.

Oct. A Council of War Interrupted. 'Narrative of the War,' p. 101. (See 1796.)

17. Amputation. (1785.) Repub. S. W. F., 1793.

1790, 1791, 1792 & 1793. Book plates, pub. by J. Siebbald. (See 1791.)

Smollett, T. 'Expedition of Humphrey Clinker.' Ten plates by Rowlandson.

1794.

Jan. 1. The Grandpapa. H. Wigstead.

1. Grog on Board.} } (See 1785.) 1. Tea on Shore. }

1. English Curiosity. (See 1784.)

1. A Ballooning Scene. Aquatint.

1. Series of small Landscapes. Do.

17. St. James's, St. Giles's. (See 1792.)

July (?) New Shoes. S W. F. Date on etching, 1793.

Sept. 25. An Old Maid in Search of a Flea. S. M. U. inv., R. fecit.

Dec. 16. Traffic. S. W. F., 3 Piccadilly.

16. Comforts of High Living. Pub. by S. W. Fores, 3 Piccadilly.

18. Village Cavalry Practising in a Farmyard. G. M. Woodward. Rowlandson fec.

18. Jews at Luncheon.

20. A Visit to the Uncle. S. W. F. Aqua. by F. Jukes. (See 1786.)

20. A Visit to the Aunt. Do. (See 1786.)

20. Luxury and Misery. (See 1786.) S. W. Fores.

20. An Early Lesson of Marching. Woodward del. Pub. by S. W. F.

28. Bad News on the Stock Exchange.

1795.

Harmony (and Love, 1796).

Effects of Harmony.

Nov. 24. A Master of the Ceremonies Introducing a Partner. Pub. by S. W. F.

1796.

S. Alan Gardiner.

Drawing by Rowlandson. Lord Salisbury, King of Würtemburg, and Duke of Gloucester.

Love.

An Accurate and Impartial Narrative of the War. 1793, 1794, 1795, &c. From drawings made on the spot by an Officer in the Guards.

June 15. The Detection. H. Wigstead. Pub. by S. W. Fores.

1797.

Jan. 1. Spiritual Lovers. Pub. by Hooper & Wigstead, 12 High Holborn.

A Theatrical Candidate.

Aug. 1. Feyge Dam, with part of the Fish Market at Amsterdam. Rowlandson del., Wright and Schultz fecit. Pub. by Ackermann, Strand.

1. Stadthouse, Amsterdam.

1. Place de Mer, Antwerp.

1. Companion view: Amsterdam. Rowlandson del., Wright and Schultz fecit. Pub. by Ackermann, Strand.

Dutch Merchants. Sketched at Amsterdam.

Tiens bien ton Bonnet, et toi, defends ta Queue. 'Rollandson,' invt. P. W. Tomkins scul.

Cupid's Magic Lantern. Desd. by Woodward, etched by T. Rowlandson. (12 plates.)

Waggon and Horses. The Feathers. Pub. by Laurie & Whittle. (See 1787.) Repub. 1803.

1798.

Jan. 12. The Dinner (Hunt). Etched 1787, repub. 1798.

12. The Comforts of Bath. (12 plates.)

Apr. 1. Views of London, No. 3. Entrance of Tottenham Court Road Turnpike, with a view of St. James's Chapel, Rowlandson del., Schultz sculp. Pub. at Ackermann's Gallery.

1. Views of London, No. 4. Entrance of Oxford Street, or Tyburn Turnpike, with a view of Park Lane.

1. Views of London, No. 5. Entrance from Mile End, or Whitechapel Turnpike.

May 1. She will be a Soldier. Schultz sculp.

He won't be a Soldier. Pub. by R. Ackermann.

June 1. Views of London, No. 6. Entrance from Hackney or Cambridge Heath Turnpike, with a distant view of St. Paul's.

10. An Extraordinary Scene on the Road from London to Portsmouth.

July 18. Light Horse Volunteers of London and Westminster, Reviewed by His Majesty on Wimbledon Common, July 5, 1798.

Aug. Soldiers Recruiting. Ackermann's, 101, Strand.

Privates Drilling. Do.

Halt at a Cottage Door. Do.

Sept. 1. The Advantage of Shifting the Leg.

1. The Consequence of not Shifting the Leg. Pub. by H. Angelo.

Oct. 15. The Glorious Victory obtained over the French Fleet off the Nile, August 1, 1798, by the gallant Admiral Lord Nelson of the Nile. Pub. by R. Ackermann.

20. Admiral Nelson Recruiting with his Brave Tars after the Glorious Battle of the Nile. Ackermann's, Strand.

An Amorous Turk.

Nov. 12. High Fun for John Bull, or the Republicans put to their Last Shift. Pub. by Ackermann.

Annals of Horsemanship; with 17 copperplates, by Bunbury. Engraved by Rowlandson, pub. by W. Wigstead.

The Academy for Grown Horsemen; with 12 copperplates, by Bunbury. Engraved by Rowlandson, pub. by W. Wigstead.

Love in Caricature; with 11 plates by Rowlandson. Pub. by W. Wigstead, Charing Cross.

The Discovery.

1799.

Jan. 1. Cries of London (a series):-- 1. 'Buy a Trap--a Rat-trap.' 2. 'Buy my fat Goose.' 3. Last Dying Speech and Confession. 4. 'Do you want any Brickdust?'

Feb. 1. A Charm for a Democracy. 'Anti-Jacobin.'

10. An Artist Travelling in Wales.

Delineations of Nautical Characters, in 10 plates. Pub. by Ackermann.

An etching after Raphael Urbino.

Apollo, Lyra, and Daphne.

Mar. 1. Cries of London:-- 5. 'Watercresses.' 6. 'All a-growing.' 7. 'Flowers for your Garden.' 8. 'Hot Cross Buns--Two a Penny--Buns.'

An Irish Howl. 'Anti-Jacobin Review.'

Apr. 10. St. Giles's Courtship.

St. James's Courtship. Pub. by R. Ackermann.

May 1. For the 'Anti-Jacobin Review.' A Peep into the Retreat at Tinnechurch (United Irish).

View of a Cathedral Town on Market-day.

10. Borders for Rooms and Screens, slips. Woodward del., Rowlandson sc. Pub. by Ackermann. 24 sheets.

June 20. Borders for Halls. Do.

20. Connoisseurs. Pub. by S. W. Fores.

20. The Loyal Volunteers of London. 87 plates by T. Rowlandson. Pub. R. Ackermann.

20. Hungarian and Highland Broadsword Exercise. Etched under the direction of H. Angelo and Son. Oblong folio. 24 plates.

Aug. 1. Two Upright Sheets of Borders for Halls. Do.

Two Upright Sheets of Borders for Halls. Do.

A Game at Put in the Country Alehouse. G. M. Woodward invt. Pub. by R. Ackermann.

1. Waddling Out. Woodward invt. Pub. by R. Ackermann.

1. Horse Accomplishments:-- 1. A Paviour. 2. An Astronomer. 3. A Civilian.

1. A Devotee.

10. Comforts of the City. A Good Speculation. Woodward del., Rowlandson sc.

10. Do. A Bad Speculation. Do.

12. Procession of a Country Corporation.

Sept. Bay of Biscay. Repub. from 1789.

3. Forget and Forgive, or Honest Jack Shaking Hands with an Old Acquaintance.

20. The Irish Baronet and his Nurse. Woodward del., Rowlandson sc.

Oct. 1. The Gull and the Rook. Pub. by Hixon, 355 Strand.

The Crow and the Pigeon. Do.

Twopenny Cribbage. G. Woodward invt. Pub. by Ackermann.

28. A Note of Hand?

(N.D.) Legerdemain. H. Bunbury del.

Nov. 1. 'Good Night.' Woodward del., Rowlandson sc., Pub. by Ackermann.

1. March to the Camp. Pub. by T. Rowlandson, 1 James Street, Adelphi.

Bartholomew Fair.

A Visit to the Camp.

5. A Bankrupt Cart, or the Road to Ruin in the East. Woodward del.

A Dasher, or the Road to Ruin in the West. Woodward del.

1799 (?) Loose Thoughts.

" The Bookbinder's Wife.

" The Nursery.

" A Freshwater Salute.

" A Ride to Rumford.

" City Fowlers. Mark. H. Bunbury del., Row. sc.

" The City Hunt. Do., do.

" Cits Airing themselves on Sunday. H. Bunbury del., Rowlandson sc.

" A Grinning Match. H. Bunbury del., Row. sc.

" A Militia Meeting. Do., do.

" Distress. Pub. by Palser.

" Une Bonne Bouche.

1800.

Jan. 2. A French Ordinary. S. W. Fores. (See 1804.)

20. Washing Trotters. Hixon, 355, near Exeter 'Change, Strand.

21. Acute Pain. Woodward del., Rowlandson fec. 1. Desire. (No. 1.) Woodward del., Rowlandson fec. 2. Attention. Woodward del., Rowlandson fec. 3. Hatred or Jealousy. Woodward del., Rowlandson fec. 4. Admiration with Astonishment. Woodward del., Rowlandson fec. 5. Veneration. Woodward del., Rowlandson fec. 6. Rapture. Woodward del., Rowlandson fec. 7. Desire. (No. 2.) Woodward del., Rowlandson fec. 8. Joy with Tranquillity.Woodward del., Rowlandson fec. 9. Laughter. Woodward del., Rowlandson fec. 10. Acute pain. Woodward del., Rowlandson fec. 11. Simple Bodily Pain. Woodward del., Rowlandson fec. 12. Sadness. Woodward del., Rowlandson fec. 13. Weeping. Woodward del., Rowlandson fec. 14. Compassion. Woodward del., Rowlandson fec. 15. Scorn. Woodward del., Rowlandson fec. 16. Horror. Woodward del., Rowlandson fec. 17. Terror. Woodward del., Rowlandson fec. 18. Anger. Woodward del., Rowlandson fec. 20. Despair. Woodward del., Rowlandson fec.

Feb. 14. Beef à la Mode.

Mar. 6. Doctor Botherum, the Mountebank.

12. Humbugging, or Raising the Devil. Ackermann.

12. Hocus Pocus, or Searching for the Philosopher's Stone. Ackermann.

April 1. A Ghost in the Wine Cellar.

1. Caricature Medallions for Screens. Pub. by R. Ackermann, Strand.

20. Hearts for the Year 1800. Woodward inv., Rowlandson sculp. Pub. by R. Ackermann, Strand.

May 1. Cash. Pub. by R. Ackermann.

1. Bills of Exchange. Do.

12. Melopoyn Haranguing the Prisoners in the Fleet. Hogarthian Novelist. Pl. 5.

May 12. Captain Bowling Introduced to Narcissa. Do. Pl. 6.

20. A Skipping Academy. G. M. Woodward inv., Rowlandson sculp. Pub. by R. Ackermann, Strand.

June. Sketches at the Oratorio. G. M. Woodward inv., Rowlandson sculp.

4. Britannia's Protection, or Loyalty Triumphant.

4. Pictures of Prejudice. Woodward del., Rowlandson sc. Pub. by R. Ackermann.

20. A Silly. Pub. by R. Ackermann.

26. A Sulky. Do.

July 25. Collar'd Pork.

25. The Pleasures of Margate:--

_Morning._--Breakfast at Michiner's Grand Hotel.

_Noon._--Dining. Do.

_Evening._--A Drive on the Sands.

_Night._--At the Bazaars, Raffling for Prizes, Flirtation, &c. Pub. by R. Ackermann.

(O.D.) The Tuileries in Paris.

Aug. 20. Summer Amusement, a Game at Bowls. T. R., 1 James Street, Adelphi.

20. Sailors Regaling. Pub. by T. Rowlandson, 1 James Street, Adelphi.

30. Gratification of the Senses _à la mode Française_. (Seeing, Tasting, Hearing, Smelling, Feeling.)

Oct. 1. The Newspaper. G. M. Woodward inv., Rowlandson sculp. Pub. by R. Ackermann.

29. Grotesque Border for Rooms and Halls. Woodward del., Row. sc. Three strips. Ackermann.

(N.D.) Do. Two upright strips, Screens.

Oct. 25. Do. Three long strips.

(N.D.) Two upright strips.

Sterne. The Beauties of Sterne, with a plate by Rowlandson. 12mo.

Henry Wigstead. Remarks on a Tour to North and South Wales in the year 1797, by Henry Wigstead. With plates by Rowlandson, Pugh, Howitt, &c. Pub. by Wigstead.

Yorick Feeling the Grisette's Pulse.

Series of Attributes:-- Philosophorum. Fancyana. Epicurium. Penserosa. Tally-ho-rum! Allegoria. Physicorum. Nunno. Publicorum. Funeralorum. Virginia. Hazardorum. Battlerorum. Billingsgatura. Traflicorum. Barberorum. Flor. Lawyerorum.

A Peep into Bethlehem.

Matrimonial Comforts. A series. Woodward del., Rowlandson sc.:-- 1. The Dinner spoiled. 2. Late Hours. 3. Anonymous Letter. 4. A Return from a Walk. 5. Killing with Kindness. 6. A Fashionable Suit. 7. Washing Day. 8. A Curtain Lecture.

Country Characters. A series. Woodward del., Rowlandson sc.:-- 1. A Publican. 2. A Justice. 3. A Barber. 4. Footman. 5. Tax-gatherer. 6. Squire. 7. Vicar. 8. Doctor. 9. Exciseman. 10. Steward. 11. Attorney. 12. London Outrider, or Brother Saddlebag. Pub. by R. Ackermann.

1800? Preparations for the Academy. Old Nollekens and his Venus.

Rainbow Tavern, in Fleet Street, in 1800.

1801.

Jan. 1. An Epicure. Pub. by S. W. Fores. Repub. (See 1788.)

A nice piece of fish.

1. A Councillor. Pub. by S. W. Fores.

A Brace of Public Guardians:-- Councillor in Court. Watchman in Street.

1. The Union. Ackermann.

A Money Scrivener. Pub. by S. W. Fores.

A Jew Broker.

15. The Brilliants.

15. Undertakers Regaling. Nixon del. Pub. by R. Ackermann.

20. Symptoms of Sanctity. (R. fecit, 1800.)

30. Single Combat in Moorfields, or Magnanimous Paul O! Challenging All O!

Feb. 10. The Miser's Prayer. Woodward del., Rowlandson sculp. Pub. by Ackermann.

10. The Old Maid's Prayer.

Mar. 18. The Union Head-dress. W. del., R. sc. Pub. by R. Ackermann.

Apr. 2. 1. Taste. 2. Fashion. Woodward del., Row. sculp. 3. Elegance. 4. Fancy. Do. do.

May 1. Boot Polishing. G. M. Woodward. Pub. by R. Ackermann.

The Epicure's Prayer.

The Lottery Office Keeper's Prayer.

(O.D.) Rag Fair.

June 4. The Maiden's Prayer.

4. The Widow's Prayer.

The Miser's Prayer.

July 12. Light Summer Hat and Fashionable Walking Stick. Pub. by Ackermann.

20. The Toper's Mistake. G. M. Woodward inv. Pub. by R. Ackermann.

25. The Maid of All Work's Prayer.

30. The Apothecary's Prayer.

The Quack Doctor's Prayer.

Aug. 1. The Female Gambler's Prayer.

10. The Jockey's Prayer.

10. The Actress's Prayer.

Here's your Potatoes, Four full Pounds for Two-pence.

Buy my Moss Roses, or Dainty Sweetbriar.

Light, your Honour? Coach unhired.

Pray Remember the Blind.

Sept. An Old Member on his way to the House of Commons.

5. Summer Clothing. Pub. by R. Ackermann.

5. The Cook's Prayer.

12. The Sailor's Prayer.

Sept. A Sailor Mistaken. G. M. Woodward. Pub. by R. Ackermann.

20. Poll of Portsmouth's Prayer.

20. The Publican's Prayer.

Dec. 20. Gig Hauling, or Gentlemanly Amusement for the Nineteenth Century. G. M. Woodward inv. Pub. by R. Ackermann.

1802.

Feb. 25. Friendly Accommodation. Woodward inv., Rowlandson sculp. Pub. by R. Ackermann.

Mar. 1. The Monstrous Craws, or a New Discovered Animal. Pub. by R. Ackermann.

May 1. A Man of Fashion's Journal.

1. A Woman of Fashion's Journal.

May 10. Seven Stages of Man's Schooling:-- The Nursery. Private School. Public School. University. School for Gallantry. School for Modern Romans. School for Modern Greeks. Des. by J. B. W., etd. and pub. by T. Rowlandson.

20. The Sailor's Journal.

28. Special Pleaders in the Court of Requests. (Roberts.)

June 10. How to Pluck a Goose. Etched by T. R. Pub. by T. Williamson, 20 Strand.

15. A Parish Officer's Journal.

25. _La Fille mal Gardé_, or Jack in the Box. Williamson, 20 Strand, London.

July 1. Comfort in the Gout. Etching dated 1785.

1. A Lady in Limbo, or Jew Bail Rejected.

1. Sly boots.

1. Intrusion on Study, or the Painter Disturbed. Fores. Pub. originally Nov. 1785.

1. Jockeyship. Pub. by S. W. Fores.

1. A Snip in a Rage. Pub. by S. Howitt, Panton St.

18. The Corporal in Good Quarters.

Aug. 30. A Musical Family. Pub. by R. Ackermann.

Sept. 12. Sorrow's Dry, or a Cure for the Heartache. (Repub. 1811.)

Nov. 20. Doctor Convex and Lady Concave. Pub. by R. Ackermann.

1802 (?) Hunt the Slipper. Picnic Revels.

Salt Water.

Who's Mistress Now? S. Howitt, Panton Street, Haymarket.

Edward Jones (Bard). Bardic Museum of Primitive British Literature. Fol. 1802. Coloured frontispiece by Rowlandson.

A Compendious Treatise on Modern Education, by T. B. Willyams. Eight plates by Rowlandson. Obl. 4to. From Notes by the late Joel M'Cringer, D.D.

1803.

Feb. 1. Signiora Squallina.

Sweet Lullaby.

Queer Fish.

Recruits. (See 1811.)

Mar. 1. A Catamaran, or an Old Maid's Nursery. Pub. by T. Rowlandson, 1 James Street.

Mar. Richmond Hill, after H. Bunbury. Pub. by R. Ackermann.

Billiards. Do.

Apr. 1. Road to Ruin. Pub. by S. W. Fores.

6. A Diver.

12. Ducking a Scold.

May 1. John Bull Listening to the Quarrels of State Affairs.

June 21. A Snug Cabin, or Port Admiral. (See June, 1808.)

July 1. A Stage Coach.

10. Flags of Truth and Lies. Pub. by Ackermann.

A Flat between Two Sharps.

1804.

Jan. 1. Diana in the Straw, or a Treat for Quornites. Pub. by S. W. Fores.

2. A French Ordinary. Fores.

May. A New French Phantasmagoria. (Etching dated 1805.)

June 8. Light Volunteers on a March.

8. Light Infantry Volunteers on a March. Pub. by Ackermann.

July 31. The Imperial Coronation.

Nov. 31. Theatrical Leap-frog. (Ackermann.)

Dec. 14. The Death of Madame République.

Melpomene in the Dumps.

Joel M'Cringer, D.D., F.R.S. A Compendious Treatise of Modern Education, &c. (See 1802.) Folio.

1805.

Feb. 3. Quarterly Duns, or Clamorous Tax-Gatherers. Howitt, 3 Wardour Street, Soho.

25. The Famous Coalheaver, Black Charley, Looking into the Mouth of the Wonderful Coal Pit. (Ackermann.)

Apr. 23. The Modern Hercules Clearing the Augean Stables. Pub. by Rowlandson, Adelphi.

23. The Fifth Clause, or Effect of Example. Pub. by T. R.

28. A Scotch Sarcophagus. Do.

May 15. John Bull's Turnpike Gate. Do.

25. A Sailor's Will. Woodward inv., Rowlandson sculp. Pub. by R. Ackermann.

A Finishing School.

July 8. The Scotch Ostrich Seeking Cover. Pub. by Rowlandson, Adelphi.

14. Recovery of a Dormant Title, or a Breeches Maker become a Lord. Repub. 1812.

Antiquarians à la Grecque. Pub. by R. Ackermann.

Oct. 1. The Departure from the Coast, or the End of the Farce of Invasion. (Ackermann.)

2. John Bull at the Italian Opera.

30. Raising the Wind.

Nov. 13. Napoleon Buonaparte in a Fever on Receiving the Extraordinary Gazette of Nelson's Victory over the Combined Fleets. (Ackermann.)

H. Fielding. The History of Tom Jones, a Foundling. 8vo.

The Sentinel Mistakes Tom Jones for an Apparition.

Tobias Smollett.--The Adventures of Peregrine Pickle. 8vo.

Views in Cornwall and Dorset. A Series.

Nov. Clearing a Wreck on the North Coast of Cornwall.

A Finishing School.

Glow Worms. (See July, 1812.)

Muck Worms.

1806.

Mar. 15. The Waltz. (See the 'Sorrows of Werter.')

Apr. 3. An Evergreen.

16. The Political Hydra. Wigstead. Orig. pub. Dec. 26, 1788. Rep. new date.

18. Falstaff and his Followers Vindicating the Property Tax. Pub. by T. R., Adelphi.

20. A Cake in Danger.

A Select Vestry.

May. Recruiting on a Broadbottom'd Principle.

1. A Maiden Aunt Smelling Fire. Pub. by T. R., repub. 1812.

4. Daniel Lambert, the Wonderful Great Pumpkin of Little Britain. Ackermann.

31. A Diving Machine on a New Construction. T. R., 1 James Street.

June 20. The Acquittal, or Upsetting the Porter Pot. (Lord Melville.) T. R., 1 James Street.

(O.D.) A Prize Fight. (See March, 1808.)

(O.D.) Butterfly Catcher and the Bed of Tulips.

Butterfly Hunting. Probably engd. by Williams.

July 21. Experiments at Dover, or Master Charley's Magic Lantern. T. R.

Anything will do for an Officer.

View of the Interior of Simon Ward, _alias_ St. Brewer's Church, Cornwall.

A Monkey Merchant.

1807.

Feb. 1. Miseries of London: 'Going out to Dinner,' &c. Ackermann.

1. Miseries of Travelling--The Overloaded Coach.

3. The Captain's Account Current of Charge and Discharge. Giles Grinagain, 7 Artillery Street, London. T. R.

26. Mrs. Showell. The Woman who shows General Guise's Collection of Pictures at Oxford. T. N. Esq. Pub. by T. R., 1 St. James Street, Adelphi.

28. At Home and Abroad! Abroad and at Home! T. R., 1 James Street, Adelphi.

Mar. 1. Enraged Vicar.

Apr. 18. All the Talents.

24. A Nincompoop, or Henpecked Husband. Tegg, 141.

26. John Rosedale, Mariner. Exhibitor at the Hall of Greenwich Hospital.

May 1. The Pilgrims and the Peas. Des. by Woodward, Etd. by Rowlandson.

3. Scenes at Brighton, or the Miseries of Human Life. Pub. by A. Berigo, 38 Maiden Lane, Covent Garden, May 3, 1807.

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

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

Monastic Fare.--

No baron or squire, or knight of the shire, Lives half so well as a Holy Friar.

May 6. Song Headings, pub. by Tegg:--Black, Brown, and

Fair. Des. by Bunbury, etd. by Rowlandson.

6. The Holy Friar. Des. by Sir E. Bunbury, etd. by Rowlandson.

16. I Smell Rat, or a Rogue in Grain. Ackermann.

17. The Old Man of the Sea, Sticking to the Shoulders of Sindbad the Sailor. _Vide_ the 'Arabian Nights Entertainments.' (Burdett and Horne Tooke.) Pub. by Tegg.

25. A White Sergeant Giving the Word of Command.

29. Comedy in the Country. Tragedy in London.

30. Song Headings, pub. by Tegg. Platonic Love. 'None but the Brave Deserve the Fair.' Sir E. Bunbury. Etd. by Rowlandson.

June 12. Miseries Personal: 'After Dinner, when the Ladies Retire,' &c. Ackermann.

15. Song Headings, pub. by Tegg.--Murphy Delaney. Woodward del., Rowlandson fecit.

Easter Hunt--Clearing a Fence.

18. A View on the Banks of the Thames. Pub. by T. Tegg.

July 1. More Scotchmen, or Johnny Macree Opening his New Budget. Pub. by Tegg.

9. Song Heading, pub. by Tegg. A Cure for Lying and a Bad Memory. Woodward del., Row. fecit.

10. The Double Disaster, or New Cure for Love. Row. del. et sculp. Tegg.

Miseries of the Country.[28]

14. Easter Monday, or Cockney Hunt.

Oct. 5. A Mistake at Newmarket, or Sport and Piety. Englishman in Paris. H. Bunbury. (1807?)

(N.D.) Symptoms of Restiveness. (1807?)

" A Calf's Pluck. H. Bunbury. Do.

" Rusty Bacon. Do.

" A Tour to the Lakes. Do.

Nov. 9. Thomas Simmons. Drawn from Life. Pub. by T. R., 1 James Street.

10. Directions to Footmen. R. invt. Tegg, 273.

10. John Bull making Observations on the Comet. Woodward del., Row. sculp. Pub. by Tegg.

20. A Couple of Antiquities: My Aunt and My Uncle. Pub. by R. Ackermann.

21. Song Headings, pub. by Tegg. The Dog and the Devil. Woodward del., Rowlandson scul.

1807 (?) Miseries of Bathing.

More Miseries, or the Bottom of Mr. Figg's Old Whiskey Broke through.

The Man of Feeling.

The Pleasures of Human Life. By Hilari Benevolus & Co. Pub. by Longmans, 1807. Cr. 8vo.

NOTE: While on a visit in the Hundreds of Essex being under the necessity of getting dead drunk every day to save your life.

1808.

Jan. 'The Discovery.' (See 1809.)

Wild Irish, or Paddy from Cork, with his Coat Buttoned Behind. Qy. Acker. or R. pub.

7. Tom Tack's Ghost. (Song and Heading.) Pub. by Tegg, No. 38. Jan. 16. Scenes at Brighton, or the Miseries of Human Life.

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

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

Mar. 1. Miseries of High Life (Tegg). Briskly stooping to Pick up a Lady's fan, &c.

1. The Green Dragon. Ackermann.

1. Description of a Boxing Match, June 9, 1806.

Apr. 1. Soldiers on a March. Des. and pub. by T. R., 1 James Street, Adelphi.

Plates to Tegg's Gambado, May 1808. 8vo.

May 6. The Head of the Poll, or the Wimbledon Showman and his Puppet. Pub. by Walker, Cornhill.

12. The Consultation, or Last Hope.

21. Volunteer Wit, or not Enough for a Prime. Tegg.

The Anatomy of Melancholy. Ackermann.

21. The Mother's Hope. Pub. by Tegg.

The Microcosm of London, or London in Miniature. With 105 Illustrations by Rowlandson and Pugin. 3 vols. 4to. R. Ackermann.

June 4. The Sweet Little Girl that I Love. Pub. by Tegg, No. 167. Woodward del., R. sculp.

4. Odd Fellows from Downing Street Complaining to John Bull. Woodward del., R. sculp.

21. A Snug Cabin, or Port Admiral.

30. Accommodation, or Lodgings to Let at Portsmouth. Woodward del., Rowlandson sc. Tegg, 219.

30. The Welsh Sailor's Mistake, or Tars in Conversation. Tegg, 220.

July 8. The Corsican Tiger at Bay. Pub. by R. Ackermann.

10. Billingsgate at Bayonne, or the Imperial Dinner. Ackermann.

12. The Corsican Spider in his Web. Woodward del. Rowlandson sc. Pub. by Tegg.

12. The Corsican Nurse Soothing the Infants of Spain. Woodward del., Rowlandson sc. Pub. by Tegg.

22. The Beast as Described in the Revelations, chap. xiii. Resembling Napoleon Buonaparte. G. Sauler, Farnham. Pub. by Ackermann.

Aug. 18. From the Desk to the Throne. A New Quick Step by Joseph Buonaparte. The Bass by Messrs. Happy and Talley. G. Sauler Farnham. Pub. by Ackermann.

21. King Joe's Retreat from Madrid. Tegg, 53. Woodward del., Rowlandson sculp.

25. Behaviour at Table. Woodward del. 4 subjects.

Miseries of Human Life. 1 vol. 50 illustrations. Small folio.

27. King Joe on his Spanish Donkey. Woodward del., Row. sculp.

Sept. 12. A Spanish Passport to France. Ackermann.

12. The Political Butcher, or Spain Cutting up Buonaparte for the Benefit of his Neighbours. G. S. Farnham. Ackermann.

Sept. 15. The Fox and the Grapes. Woodward del., Rowlandson sculp. Ackermann.

17. Prophecy explained:--'And there are seven Kings, five are fallen, and one is, and the other is not yet come, and when he cometh he must continue but a short space.' Ackermann. Row. del. and sculp.

20. Napoleon the Little in a Rage with his great French Eagle. Row. del. and sculp. Ackermann.

24. A Hard Passage, or Boney Playing Bass on the Continent. Geo. Sauler Farnham. Ackermann.

25. King Joe and Co. making the most of their Time previous to quitting Madrid.

29. Nap and his Partner Joe. Row. Tegg, 60.

Oct. 1. Nap and his Friends in their Glory. Ackermann.

3. John Bull Arming the Spaniards. Do.

17. Junot Disgorging his Booty. Do.

25. A Bill of Fare for Bond Street Epicures. Woodward del., engd. by T. R. Tegg.

Nov. 1. Get money, money still, And then let Virtue follow if she will.

1. Rum Characters in a Shrubbery.

1. Doctor Gallipot. 'Throw Physic to the Dogs.' (See 1810.)

1. Wonderfully Mended. Shouldn't have Known you again.

1. The Last Shift.

1. Breaking Cover.

1. In Port and out of Port, or News from Portugal. Woodward del., Row. sculp. Pub. by Tegg.

19. The Progress of the Emperor Napoleon. Woodward and Rowlandson.

Votaries of Fashion in the Temple of Folly.

How to Break a Shop Window with an Umbrella.

More Miseries, or the Bottom of Mr. Figg's Old Whiskey Broke through. (See 1807.)

How to Walk the Streets. 8vo. 3 illustrations by Woodward and Rowlandson.

Chesterfield Travestie, or School for Modern Manners. Ten Cartoons. Engd. by Rowlandson from drawings by Woodward. Pub. by T. Tegg. 1802. 12mo.

The Art of Ingeniously Tormenting. Pub. by T. Tegg.

The Caricature Magazine, or Hudibrastic Mirror. (Continued in 1810, &c.) Pub. by Tegg.

1808 (?) Bartholomew Fair.

A British Sailor. Frenchman. Spaniard. Dutchman. Pub. by Tegg.

A Lecture on Heads, by Geo. Alex. Stevens. With 25 illustrations by Woodward and Rowlandson. Pub. by Tegg.

Beauties of Tom Brown. In one vol.

1809.

The Discovery. Repub. from 1798.

Jan. 15. The Head of the Family in Good Humour. Tegg, 131. Woodward del., Rowlandson sculp.

15. The Old Woman's Complaint, or the Greek Alphabet. W. del., R. sc. Tegg.

Feb. 1. Launching a Frigate. Tegg. Newton del. R. sculp. Feb. 1. A Traveller Refreshed in a Stagnant Pool after the Fatigues of a Dusty Day's Journey. Ackermann.

1. Mrs. Bundle in a Rage, or Too Late for the Stage. Ackermann.

15. Dissolution of Partnership, or the Industrious Mrs. Clarke winding up her Accounts. Rowlandson des. and sculp.

20. Mrs. Clarke's Levée.

20. The Ambassador of Morocco on a Special Mission. Tegg.

21. Days of Prosperity in Gloucester Place, or a Kept Mistress in High Feather. Tegg.

25. The York Magician Transforming a Footboy into a Captain. Tegg. Also known as 'The Magician.'

26. The Bishop and his Clarke, or a Peep into Paradise. Tegg, 93.

26. All for Love. A Scene at Weymouth.

26. An Unexpected Meeting. Tegg, 69.

27. A Pilgrimage from Surrey to Gloucester Place, or the Bishop in an Ecstasy. Tegg.

Mar. 2. A Parliamentary Toast. 'Here's to the Lady,' &c. Tegg.

4. Chelsea Parade, or a Croaking Member Surveying the inside and outside of Mrs. Clarke's Premises. Tegg.

5. The Road to Preferment, through Clarke's Passage. Tegg.

5. The York March. Tegg.

7. The Triumvirate of Gloucester Place, or the Clarke, the Soldier, and the Taylor. Tegg 69.

John Gilpin said, 'Of womenkind I only love but one, And thou art she, my dearest dear, therefore it shall be done!'

8. A Scene from the Tragedy of Cato. Tegg, 69.

8. Yorkshire Hieroglyphics!! Plate 1. Tegg.

The Duke's Letter to Mrs. Clarke.

9. The Burning Shame. Tegg.

11. Yorkshire Hieroglyphics. Plate Second. Tegg. The Duke's Second Letter, to Mrs. Clarke.

12. The Statue to be Disposed of at Gloucester Place. (Tegg.)

13. A General Discharge, or the Darling Angel's Finishing Stroke. Tegg.

The Duke of York's _Chères Amies_, Mesdames Carey, Cook, Sutherland, Gifford, Clarke, Shaw, &c.

15. The Champion of Oakhampton Attacking the Hydra of Gloucester Place. Tegg.

Bellua Multorum es Capitum.--_Hor._

17. The Parson and the Clarke. Tegg.

19. Sampson Asleep on the Lap of Delilah. Tegg.

20. A Mad Dog in a Coffee House.

24. The Resignation, or John Bull Overwhelmed with Grief.

24. The Prodigal Son's Resignation. Tegg.

27. Frontispiece to Tegg's Complete Collection of Caricatures relative to Mrs. Clarke, and the Circumstances arising from the Investigation of the

Conduct of H.R.H. the Duke of York before the House of Commons, 1809.--

Out of Evil cometh Good. Learn to be wise from others' harm, And thou 'shalt do full well!'

Mar. 29. Mrs. Clarke's Last Effort!

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

30. The York Dilly; or, the Triumph of Innocence. Tegg, 94.

Apr. 1. Doctor O'Meara's Return to his Family, after Preaching before Royalty. Tegg.

2. Mrs. Clarke's Farewell to her Audience. Tegg. Tailpiece to Tegg's Collection of the York and Clarke Caricatures.

4. Original Plan for a Popular Monument to be Erected in Gloucester Place. Tegg.

5. A York Address to the Whale. Caught lately off Gravesend. Tegg.

10. The Flower of the City. Aldn. Flower. Tegg.

11. The Modern Babel, or Giants Crushed by a Weight of Evidence. Tegg.

18. The Sick Lion and the Asses. Tegg. Duke of York series.

21. Comforts of Matrimony. A Good Toast. Reeve & Jones.

21. Do. The Tables Turned. The Miseries of Wedlock. Reeve & Jones.

21. Burning the Books. Memoirs of Mrs. Clarke. Tegg.

22. A Piece-Offering. Memoirs, Life, Letters, &c., of M. A. Clarke. Tegg.

24. The Quaker and the Clarke. Tegg, 83.

25. John Bull and the Genius of Corruption. Tegg (94).

29. O! you're a Devil, get along do!

Sterne's Sentimental Journey. 12mo. Yorick and Father Lorenzo. La Fleur and the Dead Ass.

June 1. Mansion House Monitor. Poetical Magazine.

12. Boney's Broken Bridge. Tegg.

July 9. Hell broke loose; or, the Devil to Pay among the Darling Angels.

Two of a Trade can Never Agree. Mrs. Clarke and Col. Wardle. Tegg.

14. More of the Clarke; or Fresh Accusations. Tegg, 96.

16. The Plot Thickens; or, Diamond Cut Diamond.

18. Amusement for the Recess; or the Devil to Pay amongst the Furniture. (Col. Wardle.) Tegg, 98.

20. A Tit-Bit for a Strong Stomach. Ackermann.

24. The Tables are Turned; how are the Mighty Fallen. Tegg, 96.

30. The Bill of Wrights; or, the Patriot Alarmed. Tegg, 101.

31. The Huntsman Rising. The Gamester going to Bed. (See 1811.)

Aug. 1. Wonders--Wonders--Wonders! 10 Figures. Tegg.

1. The Mistake. Tegg.

28. The Rising Sun; or a View of the Continent. Desd. by G. Sauler Farnham. Rowlandson. Pub. by R. Ackermann.

Sept. 3. The Pope's Excommunication of Buonaparte, or Napoleon brought to his last Stool. Tegg, 106.

4. Song by Commodore Curtis. Tune: 'Cease, Rude Boreas.' Tegg.

14. A Design for a Monument to be Erected in Commemoration of the Great, Glorious, and Never-to-be-Forgotten Grand Expedition, so ably Planned and executed in the year 1809. (Gen. Chatham's Expedition.)

Sept. 24. General Chatham's marvellous Return from his Expedition of Fireworks.

A Plan for a General Reform. Pub. by T. Tegg.

27. This is the House that Jack Built. O. P. Riots, Drury Lane. Tegg.

30. A Lump of Impertinence. Woodward del., Rowlandson sculp. Pub. by Tegg, 143.

Miseries of Human Life. Tegg, 257.

Oct. 24. Preparations for the Jubilee; or Theatricals Extraordinary. Tegg, 110.

25. A Bill of Fare for Bond Street Epicures. Pub. by Tegg, 188.

25. Do. do do. 189.

Nov. 1. Inside View of Public Library, Cambridge. Pub. by R. Ackermann.

Dec. 1. Cattle not Insurable.

12. The Boxes!--

O woe is me! To have seen what I have seen-- Seeing what I see!

Opie invt. Pub. by T. Rowlandson, 1 James St., Adelphi.

18. Joint Stock Street. Woodward del., Rowlandson sculp. Tegg, 174.

23. A Peep at the Gas Lights in Pall Mall. Woodward del., Rowlandson sculp. Tegg, 173.

24. The Bull and Mouth. Woodward and Rowlandson. Tegg, 290.

Smollett (T.), Miscellaneous Works. 26 Illustrations by Rowlandson. 5 vols. 8vo. Edinburgh.

Sterne (L.). The Beauties of Sterne. Embellished with Caricatures by T. Rowlandson.

Poetical Magazine. Pub. Ackermann's. 1809. Continued 1810-11. Royal 8vo. 4 vols.

Beauties of Tom Brown. Frontispiece and illustrations by T. Rowlandson. Pub. by Tegg. 12mo.

Gambado. An Academy for Grown Horsemen, &c. 1809, 8vo. Pub. by Tegg. (See 1808.)

Baron Munchausen's Surprising Adventures. 1809, 12mo. Pub. by Tegg.

Beresford (James). An Antidote to the Miseries of Human Life. 1809, 8vo.

Butler (S.), 'Hudibras.' 5 Illus. by Wm. Hogarth. Engraved by T. Rowlandson. Pub. by Tegg.

Advice to Sportsmen; selected from the notes of Marmaduke Markwell. 16 Illustrations by Rowlandson. Pub. by Thos. Tegg. 1809, 12mo.

Rowlandson's Sketches from Nature. 12 views. Drawn and etched by T. Rowlandson, aquatinted by Stadler.

Views in Cornwall, Devon, Somerset, Isle of Wight, &c.

The Art of Ingeniously Tormenting. Woodward del., Rowlandson sculp. 1809. Pub. by Tegg. 12mo.

The Pleasures of Human Life. By Hilari Benevolus & Co. Pub. by Longmans. With 5 plates by Rowlandson, &c. (1807).

Annals of Sporting by Caleb Quizem. Woodward del.; Rowlandson sculp. Pub. by T. Tegg. 1809. 12mo.

1809 (?) A Lump of Innocence. Tegg.

The Trial of the Duke of York. Pub. by T. Tegg. 2 vols. 1809. (Collected Caricatures.)

Scandal, Investigation of the Charges brought against H.R.H. the Duke of York, by G. L. Wardle, Esq., M.P. for Devon, with the Evidence and Remarks of the Members. Containing fourteen scarce portraits by Rowlandson, amongst which are Mrs. M. A. Clarke, Sir F. Burdett, Duke of York, Col. Wardle, &c. 2 vols, 12mo. 1809.

1809 (?) A Glee. 'How shall we Mortals pass our Hours? In Love, in War, in Drinking?' Tegg.

Disappointed Epicures.

1810.

Jan. 1. Business and Pleasure.

Mar. 30. Winding up the Medical Report of the Walcheren Expedition.

April 7. The Dunghill Cock and Game Pullet, or Boney Beat out of the Pit.

12. Libel Hunters on the Look-out, or Daily Examiners of the Liberty of the Press. Tegg, 4.

20. A New Tap Wanted, or Work for the Plumber.

26. The Boroughmongers Strangled in the Tower.

May 1. Front View of Christ Church, Oxford.

Emmanuel College Garden, Cambridge.

Emmanuel College, Cambridge. A Nobleman Presenting a Collection of Busts.

View of the Theatre, Printing House, &c., Oxford.

St. Mary's Church--Radcliffe Library.

Inside View of the Public Library, Cambridge. Pub. by Ackermann.

5. A Bait for the Kiddies on the North Road, or that's your sort, prime bang up to the mark.

10. Kissing for Love, or Captain Careless Shot Flying. Tegg, 52.

10. Easterly Winds, or Scudding under Bare Poles. Tegg, 2.

15. Three Weeks after Marriage, or the Great Little Emperor Playing at Bo-peep. Tegg, 16.

15. A Bonnet Shop. Tegg, 17.

20. Peter Plumb's Diary. Thos. Tegg, 18.

30. A Table d'Hôte, or French Ordinary in Paris. Tegg, 20.

1810 (?) Paris Diligence. Pub. by Tegg.

June 4. Love and Dust. (Tegg, 2.) Repub. (Appeared originally in 1799.)

5. Boxing Match for 200 guineas between Dutch Sam and Medley, fought May 31, 1810, on Moulsey Hurst, near Hampton. No. 22.

Aug. 8. Smuggling Out, or Starting for Gretna Green. Schultz sculp.

8. Smuggling In, or a College Trick.

Sept. 18. Procession of the Cod Company from St. Giles's to Billingsgate. Tegg, 11.

25. Rigging out a Smuggler. Tegg, No. 8.

30. Dramatic Demireps at their Morning Rehearsal. Tegg, 10.

Oct. 5. Sports of a Country Fair. Part 1.

" Do. do. Part 2.

" Do. do. Part 3. A Bengal Tiger Loose.

Cockburn's Theatre on Fire.

Advice to a Publican, or a Secret worth knowing.

The Glutton.

Ladies trading on their own bottom.

Oct. 25. An Old Ewe Dressed Lamb Fashion. Tegg, 42.

25. Spit-Fires. Tegg, 44.

25. Dropsy Courting Consumption. Rowlandson del. Pub. by Tegg, 45.

Nov. 1. Doctor Gallipot Placing his Fortune at the Feet of his Mistress. (See 1808.)

1. Kitchen-Stuff. Tegg, 43.

19. A Hit at Backgammon. Tegg, 46.

20. Medical Despatch, or Doctor Double-Dose Killing Two Birds with One Stone. Tegg, 47.

Bath Races. Tegg, 49.

30. Doctor Drainbarrel conveyed Home in a Wheelbarrow, in order to take his Trial for Neglect of Family Duty. Tegg, 23.

30. After Sweet Meat comes Sour Sauce, or Corporal Casey got into the Wrong Box.

Cries of London. 30 plates. 4to. _Circa_ 1810.

The Harmonic Society. Row. del.

Butler, S. 'Hudibras.' Illus. Rowdn. 1810. 8vo. (See 1809.) Pub. by T. Tegg.

1810 (?) The Sign of the Four Alls. Pub. by T. Tegg, No. 13.

Rabbit Merchant. Tegg, 25.

1810 (?) A Sale of English Beauties in the East Indies. (After James Gillray.)

A Parody on Milton.

1811.

Jan. 1. A Bird's-eye View of Smithfield Market, taken from the Bear and Ragged Staff. Pugin and Rowlandson del. Pub. by R. Ackermann.

A Bird's-eye View of Covent Garden Market. Do. do. do.

28. College Pranks, or Crabbed Fellows Taught to Caper on the Slack Rope. Tegg, 53.

Feb. A Sleepy Congregation. Tegg, 54.

12. A Midwife going to a Labour. Tegg, 55.

16. The Gig Shop, or Kicking up a Breeze at Nell Hamilton's Hop. Tegg, 56.

20. Pigeon-Hole, a Covent Garden Contrivance to Coop up the Gods. Tegg, 57.

26. A French Dentist Showing a Specimen of his Artificial Teeth and False Palates. Tegg, 58.

Mar. 1. A Catamaran, or Old Maid's Nursery.

2. Bacon-faced Fellows of Brazen-Nose Broken loose. Pub. by Tegg, 59.

10. She Stoops to Conquer. Tegg, 61.

12. The Anatomist. Tegg, 60.

16. Sailors on Horseback. Tegg, 62.

28. Kitty Careless in Quod, or Waiting for Jew Bail. Tegg, 65.

Apr. 1. Pastime in Portugal, or a Visit to the Nunneries. Tegg, 64.

5. The Last Drop.

9. Boney the Second, or the Little Baboon Created to Devour French Monkeys. Tegg, 66.

10. A Picture of Misery. Tegg, 70.--

Iron was his chest, iron was his door, His hand was iron, and his heart was more.

12. Puss in Boots, or General Junot taken by surprise. Tegg, 71.

Apr. 14. Nursing the Spawn of a Tyrant; or Frenchmen Sick of the Breed.

20. The Enraged Son of Mars and the Timid Tonson. Tegg, 67.

24. Rural Sports. A Cat in a Bowl. No. 1.

May 1. A Dog Fight.

1. Touch for Touch, or a Female Physician in full Practice. Tegg, 72.

4. Who's Mistress Now? Reprint, 1820.

16. The Bassoon, with a French Horn Accompaniment. Tegg, 75.

A Two o'clock Ordinary.

June 4. Summer Amusement, Bug Hunting.

July 11. A Ghost in the Wine Cellar. Published by Rowlandson.

14. Easter Monday, or the Cockney Hunt.

14. Rural Sports, or an Old Mole Catcher. Tegg, 83.

31. The Huntsman Rising. (See 1809.)

31. The Gamester going to Bed. Pub. by T. R., 1 James Street, Adelphi. (See also 1809.)

Aug. 20. Love Laughs at Locksmiths.

30. Masquerading. Tegg, 84.

Sept. Accommodation Ladder. Tegg, 85.

12. Sorrow's Dry, or a Cure for the Heart Ache.

20. Looking at the Comet till you get a Crick in the Neck. Tegg, 91.

25. Life and Death of the Race Horse. Tegg, 90.

29. Rural Sports. A Milling Match: Cribb and Molineaux. Tegg.

Oct. 1. Rural Sports, Smock-Racing. T. Tegg.

2. John Bull at the Italian Opera. Des. and pub. by T. R., &c. (See Oct. 2, 1805.)

Rural Sports; or a Game at Quoits.

Rural Sports; or how to show off a Well-shaped Leg.

Twelfth Night Characters, in 24 figures, by T. R.

3. Rural Sports; or a Cricket Match Extraordinary. Tegg, 96.

10. Six Classes of that Noble and useful Animal, a Horse.--The Race Horse. The War Horse. The Shooting Pony. The Hunter. The Gig Horse. The Draught Horse.

10. Distillers Looking into their own Business.

Dinners Dressed in the Neatest Manner. Pub. by Tegg, 112.

The Jockey Club, or Newmarket Meeting (111) (Betting Room).

The Sagacious Buck, or Effects of Waterproof.

Richmond Hill. After H. Bunbury. (See 1803.)

French Inn. Do.

Quaix de Paris. Do.

A Country Club.

Recruits. (See 1803.)

Morning, or the Man of Taste. After H. Bunbury.

Evening, or the Man of Feeling. Do.

Conversazione.

25. A Trip to Gretna Green. T. R., 1 James Street, Adelphi.

25. Rural Sports: Balloon Hunting. Tegg, 157.

31. Cloisters, Magdalen College, Oxford.

Nov. 25. English Manner and French Prudence, or French Dragoons brought to a Check by a Belvoir Leap. A Scene after Nature near Ciudad Rodrigo. Sept. 1811.

Dec. 2. A Man of Feeling. Tegg, No. 126.

9. Bel and the Dragon. Pub. Stockdale.

15. A Milk Sop. Tegg, 125.

Royal Academy. Somerset House.

The Harmonic Society. (See 1810, Oct. 2.)

Miseries of Travelling--A Hailstorm. Des. by H. Bunbury.

A Tutor and his Pupil Travelling in France. Do.

The Departure of La Fleur. Do.

Exhibition 'Stare' Case, Somerset House.

The Manager's Last Kick, or a New Way to Pay Old Debts. Tegg, 117.

Preparing to Start. Pub. by Tegg, 118.

Preparing for the Race.

Awkward Squads Studying the Graces.

Hiring a Servant. Tegg, 124.

Anglers (1611). H. Bunbury. Rowlandson del.

Anglers (1811). Do. do.

Patience in a Punt. Do. do.

A Templar at his Studies. Tegg, 76.

A Family Piece. Des. by H. Bunbury.

A Barber's Shop. Des. by H. Bunbury.

Modern Antiquities.

Chesterfield Burlesqued. Pub. by T. Tegg. 1811. 12mo. (See 1808.)

Munchausen at Walcheren.

1812.

Jan. 10. A Portrait. Duke of Cumberland. Pub. by Humphrey.

12. A Portrait. Lord Petersham. Humphrey.

Feb. 6. Mr. Norman as the Sultan of Cashmere ('The Golden Fish'). Norman del., Rowlandson sculp. Pub. by R. Ackermann.

10. Wet under Foot. Designed by an Amateur. Etched by Rowlandson. Humphrey.

26. A Portrait. Lord Pomfret. Humphrey.

A Cat in Pattens.

28. Plucking a Spooney.

Mar. 1. Catching an Elephant. Tegg, 146.

1. Description of a Boxing Match for 100 guineas a side between Ward and Quirk. Pub. by T. Rowlandson.

2. A Spanish Cloak. Tegg, 139.

20. Fast Day. T. R., 1 James Street.

25. Sea Stores. Tegg, 140.

25. Land Stores.

Apr. 2. The Chamber of Genius. R. invt. and pub.

Want is the scorn of every wealthy fool, And genius in rags is turned to ridicule.--_Juv._, _Sat._

4. Bug-breeders in the Dog Days.

12. The Ducking Stool. (Republished.) (See April 12, 1803.)

May 30. Italian Picture-Dealers Humbugging Milord Anglaise. Pub. by T. R., 1 St. James Street.

30. A Brace of Blackguards.

Racing. Pub. by T. Tegg, 158.

June 4. Broad Grins, or a Black Joke.

July 14. Miseries of London: 'Watermen.' T. R., Adelphi.

14. Glow Worms. (See 1805.) Pub. by T. Rowlandson, 1 James Street, Adelphi.

14. Muck Worms. Do.

The Rivals.

July 15. A Seaman's Wife's Reckoning. Woodward del., Row. sculp. Pub. by Tegg, 275.

15. The Secret History of Crim. Con. Plate I. T. Tegg, 161.

15. Do. do. Plate II. Do.

Aug. 29. Setting out for Margate. Tegg, 166. Woodward del., Row. sculp.

30. The Sweet Pea. Pub. by H. Humphrey, 27 St. James's Street.

Oct. 1. Refinement of Language. A Timber Merchant, &c. Tegg, 171.

1. Bitter Fare, or Sweeps Regaling.

30. Raising the Wind. Pub. by T. R., 1 James Street. 'When Noblemen,' &c.

Nov. 30. Christmas Gambols.

The Successful Fortune-Hunter, or Captain Shelalee leading Miss Marrowfat to the Temple of Hymen.

Hackney Assembly. The Graces, the Graces, remember the Graces. Orig. pub. 1802.

1812 (?) The Learned Scotchman, or Magistrate's Mistake. Tegg, 150.

" Preaching to some Purpose.

" New-Invented Elastic Breeches.

" A Visit to the Doctor.

" Puff Paste.

" Mock Turtle.

" Off She Goes. Pub. by Tegg.

The Tour of Doctor Syntax in Search of the Picturesque. First pub. in a separate form. With 31 illustrations by T. Rowlandson. Royal 8vo. Ackermann.

" English Exhibitions in Paris; or, French People Astonished at our Improvement in the Breed of Fat Cattle.

Petticoat Loose, a Fragmentary Poem. Stockdale. 4to. 4 plates by T. Rowlandson.

Set of Views of Cornwall.

1813.

Feb. 10. Bachelor's Fare. Bread and Cheese and Kisses. Tegg, 285.

Sept. 1. Summer Amusements at Margate, or a Peep at the Mermaids. Tegg.

1. The Last Gasp, or Toadstools Mistaken for Mushrooms. Tegg, 210.

1. Unloading a Waggon. Tegg, 214.

1. None but the Brave deserve the Fair. Tegg, 231.

20. Humours of Houndsditch, or Mrs. Shevi in a Longing Condition. Tegg, 213.

20. A Doleful Disaster; or, Miss Tubby Tatarmin's Wig Caught Fire.

Nov. 5. The Two Kings of Terror. A Transparency Exhibited at Ackermann's. The Allied Victory of Leipsic.

22. The Norwich Bull Feast, or Glory and Gluttony. Tegg, 232.

25. A Long Pull, a Strong Pull, and a Pull All together. Tegg, 233.

27. The Corsican Toad under a Harrow. Ackermann.

27. The Execution of Two Celebrated Enemies of Old England and their Dying Speeches. Pub. by R. Ackermann.

Nov. 29. Dutch Nightmare, or the Fraternal Hug Returned with a Dutch Squeeze. Ackermann.

30. Plump to the Devil we boldly Kicked both Nap and his Partner Joe. Tegg, 234.

Dec. 4. The Corsican Munchausen Humming the Lads of Paris. Pub. by Ackermann.

6. Funking the Corsican. Pub. by Ackermann.

10. The Mock Phoenix, or a Vain Attempt to Rise again. Pub. by Ackermann.

12. Friends and Foes, up he Goes! Sending the Corsican Munchausen to St. Cloud. Ackermann.

14. Political Chemist and German Retorts, or Dissolving the Rhenish Confederacy. Ackermann.

14. Napoleon le Grand.

Astre brillant, immense, il éclaire, il féconde, Et seul fait, à son gré, tous les destins du monde.

Mock Auction, or Boney Selling Stolen Goods. Ackermann.

30. How to Vault into the Saddle, or a new-invented Patent Crane for the accommodation of Rheumatic Rectors.

1813 (?) Doctor Syntax, in the middle of a smoking hot political squabble, wishes to wet his whistle. Tegg, 209.

Witches in a Hayloft. Tegg, 226.

Business and Pleasure. Tegg, 272. (See 1810.)

The Glutton. Pub. by T. Tegg, 274.

" The Quaker and the Commissioners of Excise. Tegg, 276.

" A-going! A-going! Newton del., Rowlandson sc. Pub. by Tegg, 291.

" Giving up the Ghost, or one too many. Tegg, 292.

Hopes of the Family, or Miss Marrowfat at Home for the Holidays. Tegg, 293.

" The Cobbler's Cure for a Scolding Wife. Tegg, 294.

" Cracking a Joke. Woodward del., Rowlandson sc. Tegg, 296.

" Ghost of my Departed Husband, whither art thou gone?

Tour of Doctor Syntax in Search of the Picturesque. Royal 8vo. Ackermann.

Poetical Sketches of Scarborough. With 21 Illustrations by J. Green. Etched by Thomas Rowlandson. Pub. by R. Ackermann.

Engelbach. Letters from Italy, 1809-13. Republished as 'Letters from Naples and the Campagna Felice.' 17 plates by Rowlandson. (See 1815.)

1814.

Jan. 1. The Double Humbug, or the Devil's Imp Praying for Peace. Ackermann.

1. Death and Bonaparte.

1. Madame Véry, Restaurateur, Palais Royal, Paris. R. sc. T. N., 348.

1. La Belle Limonadière au Café des Mille Colonnes. Palais Royal, Paris.

30. Quarter-day, or Clearing the Premises without Consulting your Landlord. Tegg, 310.

Feb. 10. Kicking up a Breeze, or Barrow Women Basting a Beadle. Tegg.

14. Progress of Gallantry, or Stolen Kisses Sweetest. Rowlandson. Pub. by Tegg, 313.

20. A Tailor's Wedding. Tegg, 315.

Mar. 1. Crimping a Quaker. Tegg, 317. Originally published as 261.

2. Head Runner of Runaways from Leipzic Fair. R. Ackermann.

12. The Devil's Darling. R. Ackermann.

April. Arms of Napoleon Bonaparte, the Tyrant of France. Supported by Satan (French Devil) and Death. Pub. by R. Ackermann.

The Hieroglyphic Portrait of Napoleon. Pub. by Ackermann.

Do. do. Alexander. Do.

9. Blucher the Brave Extracting the Groan of Abdication from the Corsican Bloodhound. T., 322.

12. Coming in at the Death of the Corsican Fox. Scene the Last. R. Ackermann.

12. Bloody Boney, the Carcase Butcher, left off Trade by Retiring to Scarecrow Island. Tegg, 323.

15. The Rogue's March. Tegg, 321.

16. A Friendly Visit.

17. The Affectionate Farewell, or Kick for Kick. Aker.

20. A Delicate Finish to a French (Corsican) Usurper. J. N. del., R. sc. Pub. by Asperne, Cornhill.

25. Nap. Dreading his Doleful Doom, or his Grand Entry into the Isle of Elba. Tegg, 328.

May 1. The Tyrant of the Continent is Fallen, Europe is Free, England Rejoices. Ackermann.

1. Boney Turned Moralist. What I was, what I am, what I ought to be. Ackermann.

1. Irish Jaunting Car. Hull des., Rowlandson fec.

8. Peace and Plenty. Tegg, 324.

15. Macassar Oil, or an Oily Puff for Soft Heads. Rowlandson. Tegg, 316 (265).

June 14. Miseries of London, or a Surly, Saucy Hackney Coachman.

20. Rural Sports, or a Pleasant Way of Making Hay. Tegg, 16.

July 14. The Rivals. Pub. by T. Rowlandson, James Street.

14. Portsmouth Point, Tegg, 255.

23. The Naumacia to commemorate a Peace. (Aquatic Spectacle on the Serpentine).

Sept. 5. The three principal Requisites to form a Man of Fashion.

15. The Four Seasons of Love--Spring, Summer, Autumn, Winter.

20. Johanna Southcott the Prophetess Excommunicating the Bishops. Tegg, 341.

1814 (?) Rural Sports. Buck-Hunting. Pub. by T. Tegg.

1815.

Jan. 1. Female Politicians. Woodward del., Rowlandson sc. Pub. by T. Tegg.

Mar. 1. Breaking-up of the Blue Stocking Club. Tegg, 343.

1. Defrauding the Customs, or Shipping Goods not Fairly Entered. Tegg, 344.

1. Hodge's Explanation of a Hundred Magistrates. W. del., R. sc. Tegg, 345.

1. Sailors Drinking the Tunbridge Waters. Tegg, 346. (Pub. as 242 originally.)

13. A Lamentable Case of a Juryman. Tegg, 347.

Apr. 7. The Flight of Buonaparte from Hell Bay. R. Ackermann.

Apr. 8. Hell Hounds Rallying Round the Idol of France. Rowlandson. Ackermann.

N. D. Vive le Roi! Vive l'Empereur!! Vive le Diable!!! French Constancy. Rowlandson. Ackermann.

12. Scene in a New Pantomime to be Performed at the Theatre Royal of Paris. Rowlandson. Ackermann.

16. The Corsican and his Bloodhounds at the Window of the Tuileries looking over Paris. Rowlandson. Ackermann.

May 10. The Carter and the Gipsies. Pub. by T. Tegg.

June 1. Ackermann's Transparency on the Victory of Waterloo. Rowlandson. Ackermann, 101 Strand.

July 14. Easter Monday, or the Cockney Hunt.

16. My Ass. Pub. by I. Sidebotham, 96 Strand. Desd. and etd. by T. R., verses by J. Yedis. (6 compts).

Measuring Substitutes for the Army of Reserve.

27. Transparency Exhibited at Ackermann's, in the Strand, Nov. 27, 1815. Day of Celebration of General Peace in London.

A Journeyman Tailor.

Neighbours. Pub. by Tegg, 235.

28. A Rare Acquisition to the Royal Menagerie. A Present from Waterloo by Marshals Wellington and Blucher. Pub. by R. Ackermann.

28. Boney's Trial, Sentence, and Dying-Speech, or Europe's Injuries Avenged. Rowlandson. Ackermann.

1815 (?) An Eating House.

" Banditti. (See 1808.)

" Virtue in Danger. "

" An Unexpected Return, or a Snip in Danger. "

" A Musical Doctor and his Scholars. "

Slap Bang Shop.

Jack Tar Admiring the Fair Sex.

Accidents will Happen.

Sympathy.

Despatch, or Jack Preparing for Sea.

Deadly-Lively.

The Fort.

Officer. The Military Adventures of Johnny Newcome. 1815. 8vo.

Lewis Engelbach. Naples and the Campagna Felice. 8vo. Reprinted from 'Repository of Arts.' Pub. by R. Ackermann.

The Dance of Death. With Illustrations. 2 vols. royal 8vo. Ackermann. (See 1816.)

Oct. The Grand Master, or Adventures of Qui Hi in Hindostan, by Quiz. 8vo. Pub. by Tegg. 1816.

1816.

Jan. 10. Exhibition at Bullock's Museum of Buonaparte's Carriage, taken at Waterloo. Ackermann.

Mar. 31. The Attempt to Wash the Blackamoor White, in the White Hall, City of Laputa.

1816 (?) Bostonian Electors of Lancashire. Pub. by W. Holland.

World in Miniature. 8vo.

Military Adventures of Johnny Newcome. 1816. (See 1815.)

Figure Subjects for Landscapes, &c., &c. Groups and Views. R. Ackermann, 8vo.

The Dance of Death. 2 vols. 1814-16. R. Ackermann, Strand.

Relics of a Saint, by Ferdinand Farquhar. 12mo. 1816. Frontispiece by Rowlandson. Pub. by T. Tegg.

1817.

May 1. 24 Plates to 'Vicar of Wakefield.' Repub. 1823.

The Dance of Life. Illustrated with 28 coloured engravings by T. Rowlandson. Pub. by R. Ackermann. Royal 8vo. (See 1821.)

The New Sentimental Journal.

Grotesque Drawing Book. 40 illustrations, 8vo.

World in Miniature. 58 etchings. 4to. 1817.

Pleasures of Human Life. 1817.

1818.

Jan. 20. The Last Jig, or Adieu to Old England. Pub. by T. Tegg.

The Adventures of Johnny Newcome in the Navy. By Alfred Burton. 8vo.

Wild Irish, or Paddy from Cork, with his Coat Buttoned Behind.

Doncaster Fair, or the Industrious Yorkshire Bites.

1819.

May 9. A Rough Sketch of the Times as delineated by Sir Francis Burdett.

Who Killed Cock Robin? (Manchester Massacre.) John Cahnac. 8vo.

Female Intrepidity, or the Heroic Maiden. (Chap book.)

Egyptian Hall. Mansion House.

Freemasons' Tavern.

1820.

1820 (?) Chemical Lectures (Sir H. Davy).

The Second Tour of Doctor Syntax in Search of Consolation. With 24 Illustrations by Thomas Rowlandson. Royal 8vo. Pub. by R. Ackermann.

Rowlandson's Characteristic Sketches of the Lower Orders. 54 coloured plates. Intended as a Companion to the 'New Picture of London.' 12mo.

1821.

May. A Smoky House and a Scolding Wife.

Tricks on the Turf--Settling to Lose a Race.

Le Don Quichotte Romantique, ou Voyage du Docteur Syntaxe à la Recherche du Pittoresque et du Romantique. 28 Illustrations drawn on stone (after the designs of Rowlandson) by Malapeau, Lith. de G. Engelmann. Paris.

Journal of Sentimental Travels in the Southern Provinces of France. 18 plates after Rowlandson. 8vo. Pub. by R. Ackermann.

1822.

The History of Johnny Quæ Genus. The Little Foundling of the late Doctor Syntax. Royal 8vo. Pub. by R. Ackermann.

Rowlandson's Sketches from Nature. 8vo. 17 views, in one volume (collected).

The Third Tour of Doctor Syntax. In Search of a Wife. Royal 8vo., with 25 Illustrations by Thos. Rowlandson. Pub. by R. Ackermann.

May. Die Reise des Doktor Syntax, um das Malerische aufzusuchen. Ein Gedicht frei aus dem Englischen ins Deutsche übertragen. Lith. v. F. E. Rademacher, Berlin.

Crimes of the Clergy. 8vo. Two plates by T. Rowlandson.

1823.

March. The Guardian of the Night. Pub. by S. W. Fores.

June 13. Not at Home, or a Disappointed Dinner Hunter. Pub. by John Fairburn, Broadway, Ludgate Hill.

19. An Old Poacher Caught in a Snare. R. inv. et sculp.

Aug. 1. Hot Goose, Cabbage, and Cucumbers.

The Tooth Ache, or Torment and Torture.

Sept. 18. The Chance-seller of the Exchequer Putting an Extinguisher on Lotteries. Ackermann; also Fairburn, Ludgate Hill.

C. M. Westmacott. The Spirit of the Public Journals for the year 1823. 3 vols. 8vo.

Third Tour of Doctor Syntax. 1823. Royal 8vo.

The three Tours of Doctor Syntax. Pocket edition, 3 vols. 16mo.

Sept. Oliver Goldsmith.--'The Vicar of Wakefield.' 8vo. 24 illustrations by Rowlandson. Pub. by R. Ackermann.

1824.

Apr. 1. Interruption, or Inconvenience of a Lodging House. Reprint. (See 1789.)

1825.

Nov. 19. Pie-us Ecstasy, or Godliness (the Itinerant Preacher's) Great Gain. Pub. by A. Bengo.

Bernard Blackmantle. (Charles Molloy Westmacott.) English Spy. 2 vols. 8vo. Do.

The Spirit of the Public Journals for the years 1823-4-5. (See 1823.)

Posthumous.

The Humourist, with 50 engravings, &c., after designs by the late Thomas Rowlandson. Published 1831.

_ADDENDUM TO THE CHRONOLOGICAL SUMMARY OF ROWLANDSON'S CARICATURES._

The Editor has found it necessary to append a supplementary list of subjects which have been brought under his notice too late either to be arranged in the body of the present work, or even to be comprised in the general chronological summary; his attention being directed to these additional caricatures long after he had reluctantly arrived at the conclusion that it was hopeless to expect to render the foregoing classification more complete.

In the Introduction to this review of pictorial satires by Thomas Rowlandson allusions will be found (vol. i. p. 4) to a noteworthy collection of his productions, both social and political, in course of formation by Mr. F. Harvey, of St. James's Street, the result of many years' vigilant activity in securing everything of consequence by the artist which happened to come into the print market, with comparative indifference to cost.

The arrangement of this gathering, already amounting to twenty-three volumes, consisting entirely of excellent examples of the caricaturist's engraved works, has been proceeding coincidently with the preparation of the present volumes, and both selections have been brought as near to completion as is practicable at precisely the same time.

The writer has the satisfaction of realising that the promise referred to in his preface, made by Mr. Harvey many years ago, has been redeemed before it is altogether worthless, as concerns his desire to supply a summary of the caricaturist's published productions as comprehensive as circumstances are likely to permit, to which much importance is attached from a collector's point of view.

It must be acknowledged that the extensive accumulation in the possession of Mr. Harvey has contributed to this result, if at the eleventh hour; in his collection numerous examples of interest are found which have hitherto escaped the Editor's researches. Many of the titles set down in the body of the foregoing Summary and in the Addendum, drawn from the resources placed at his disposal by the kindness of Mr. Harvey, are in all probability perfectly novel to the majority of even experienced 'Rowlandson fanciers.'

No date.

A Counsellor's Opinion after he had retired from Practice.

1790.

Croesus and Thalia.

All Fours. Designed by H. Bunbury. Rowlandson sculp.

Nov. 20. Satan, Sin, and Death. W. Hogarth invt. Rowlandson del.

Dec. 1. A series of single-figure subjects, designed by Woodward and engraved by Rowlandson.

A Smart. A Greenhorn. A Jessamy. A Choice Spirit. A Jemmy. A Buck. An Honest Fellow. A Blood.

1791.

Mar. 1. The Pursuit. (Chase of a Highwayman by a _possé_ of horsemen.) A large and important subject.

Companion to 'The Attack,' published contemporaneously, and described in vol. i. p. 289.

Dec. 1. Returning from the Races.

1. Selling a Horse.

1. Modish--Prudent. (Another version of the pair of female figure subjects engraved 1787. See vol. i. pp. 220-1.)

1792.

Jan. 1. A series of four large sporting subjects, figures in wooded backgrounds. Painted by George Morland, and engraved by Thomas Rowlandson.

Partridge-Shooting. Pleasant-Shooting. Snipe-Shooting. Duck-Shooting. (Originally pub. in 1790.)

July 18. The Paviour's Joy. Companion to 'The Chairman's Terror' (vol. i. p. 308).

1794.

A Field Day in Hyde Park. Aquatinted by T. Malton. A large and important subject, evidently belonging to the same series as 'The English Barracks,' &c. (Aug. 12, 1791). See vol. i. pp. 294-5.

1795.

Jan. 1. Billingsgate Brutes.

1797.

Oct. 22. Glorious Defeat of the Dutch Navy, Oct. 10, 1797, by Admirals Lord Duncan and Sir Richard Onslow; with a view, drawn on the spot, of the six Dutch line-of-battle ships captured and brought into Yarmouth. Pub. by T. Rowlandson, 1 James Street, Adelphi.

1798.

Mar. 16. England Invaded, or Frenchmen Naturalised (Loyal Volunteers). Pub. by I. Harris.

Apr. 3. A Return from a Visit. (After H. Bunbury.)

May 15. Military Fly. (See 'Loyal Volunteers of London,' June 20, 1799, vol. i. pp. 375-7.)

May 18. Rehearsal of a French Invasion, as performed before the Invalids, at the Island of St. Marcou, on the morning of ye 7 of May, 1798. Pub. by R. Ackermann.

June 1. Soldiers Attending Divine Service. (The Invasion Panic and Volunteer forces.)

Aug. 8. Smuggling In--Smuggling Out. (See 1810.)

18. The Miller's Love.

Sept. 3. Sadler's Flying Artillery. (See 'Loyal Volunteers of London,' June 20, 1799, vol. i. pp. 375-7.)

Oct. 9. Fraternization in Grand Cairo, or the Mad General and his Boney-party likely to become tame Mussulmen. Pub. by R. Ackermann.

17. Erin-go-Bray. The Allied Republics of France and Ireland. Pub. by S. W. Fores.

Nov. 1. Effects of British Valour on the French Directory. Pub. by R. Ackermann.

1799.

Jan. 20. A Magic Lantern. Merke sculp.

Mar. 1. Cries of London. Pl. 7. Old Clothes. (See 'Cries of London,' vol. i. pp. 354-6.)

20. Fast Day. Pub. by T. Rowlandson, 1 James Street, Adelphi.

Aug. 1. Change Alley. No. 1. Waddling In. (See 'Waddling Out,' vol. i. p. 366.)

Horse Accomplishments.--A Vaulter. (See 'Horse Accomplishments,' vol. i. p. 366.)

30. Country Characters. Republished 1800. (See vol. ii. pp. 13, 14.)

Oct. 1. Matrimonial Comforts. Republished 1800. (See vol. ii. pp. 14-16.)

28. Sailor and Banker, or the Firm in Danger. (See 'A Note of Hand,' vol. i. p. 369.)

Dec. 20. The Monkey Room in the Tower. Pub. by R. Ackermann.

Connoisseurs of Art.

Slaverers.

O Tempora, O Mores! S. Alken fecit.

1800.

Jan. 1. Preparing to Start. (See vol. ii. p. 222.)

The Race and the Course. Companion.

Buck's Beauty and Rowlandson's Connoisseur. Pub. by W. Holland.

21. Titlepage to series of twenty subjects.

LE BRUN TRAVESTIED, or Caricatures of the Passions. Designed by G. M. Woodward. Etched by T. Rowlandson. Pub. by R. Ackermann.

No. 3. Admiration.

('Hatred or Jealousy' should be numbered 19. See vol. ii. pp. 1, 2.)

Aug. 15. Shaving a Forestaller.

The Tinker.

Swinging.

1801.

Jan. 15. A Mahomedan Mousetrap. Companion to 'Symptoms of Sanctity.' (See vol. ii. pp. 27-8.)

April 1. Public Characters. A group of portraits arranged behind a lattice or window-frame. Woodward del. Rowlandson sculp.

Oct. 12. John Bull in the year 1800.--War.

John Bull in the year 1801.--Peace. Pub. by R. Ackermann.

Nov. 15. A British Seaman.--A Heart of Oak.

Market Place, Cambridge.

1802.

May 1. Plate 6. School of Honours. 'A Compendious

Treatise on Modern Education.' ('The Stages of Man's Schooling.' See vol. ii. p. 47.)

July 1. Manager (Garrick) and Spouter. Republished.

Bookseller and Author. Republished. (See 1784).

One Tree Hill. Greenwich Park.

1803.

May 1. The Easter Hunt. Designed by H. Bunbury. Pub. by R. Ackermann.

The City Hunt. Ditto, ditto.

Nov. The Trumpet and the Bassoon. (See 1811.)

A Trip to Gretna Green. (See 1785.)

1804.

June 30. A Dismounted Light Horse Volunteer. Woodward del. Rowlandson sculp.

1805.

Apr. 28. The Political Death and Last Will and Testament of Johnny Macree. Pub. by T. Rowlandson. (See series of satires upon the impeachment of Lord Melville, vol. ii. pp. 49, 50.)

May 25. A Sailor's Marriage. Woodward inv. Rowlandson sculp. Pub. by R. Ackermann. (Companion to 'A Sailor's Will.' See vol. ii. p. 51.)

July 28. The Blessings of Partnership. Designed by Woodward. Rowlandson fec.

Nov. 25. A Sailor in a Stable.

Dec. 3. A Sailor's Observations upon the lamented Death of Lord Nelson. Designed by Woodward. Rowlandson del. Pub. by R. Ackermann.

9. The Brave Tars of the 'Victory,' and the Remains of the lamented Nelson. Designed by Woodward. Rowlandson del. Pub. by R. Ackermann.

11. The French Admiral on board the 'Euryalus.'

1806.

Apr. 16. The New Property Tax paying his Respects to John Bull.

20. A Brace of Brimstones. (See 'A Cake in Danger,' vol. ii. p. 58.)

May 1. The Poacher. (See 'A Maiden Aunt Smelling Fire,' vol. ii. pp. 58, 59.)

June 23. Political Terriers Hunting the Property Tax. (See satires upon the Grenville and Fox Administration, vol. ii. pp. 58-61.)

1807.

July 14. The Rivals.

Oct. 9. The Honeymoon.

Miseries of Human Life. House Cleaning.

Pull'd Turkey.

Collar'd Pig. Companions to 'A Calf's Pluck' and 'Rusty Bacon.' (See vol. ii. pp. 80-2.)

1808.

Aug. 23. Horrid Visions, or Nappy Napp'd at Last. Woodward del. Rowlandson sculp.

Nov. 1. Notice to Quit, or a Will of their own. (See caricatures against Bonaparte, vol. ii. pp. 92-102.) Pub. by Tegg.

A Musical Doctor and his Scholars. Pub. by Reeve & Jones. (See 1815.)

The Unexpected Return, or the Snip in Danger. Ditto. (See series of plagiarisms from Rowlandson's drawings. Pub. by Reeve & Jones. Vol. ii. pp. 90, 91, 297.)

1809.

Feb. 23. St. Valentine's Day, or John Bull Intercepting a Letter to his Wife. Pub. by Tegg.

(Parody of the Duke of York's letters to Mrs. Clarke. 'Yorkshire Hieroglyphics,' pl. 1, March 8, 1809.)

Mar. 3. Farmer Blunt's Apology. (Satire on 'The Delicate Investigation.') (See Rowlandson's caricatures upon the 'Clarke Scandal,' vol. ii. pp. 135-162.)

Apr. 17. Dr. Donovan. ('Investigation of the Charges brought against H.R.H. the Duke of York,' &c. See Chronological Summary, 1809.)

21. Connoisseurs. (A plagiarism.) Pub. by Reeve & Jones. (See 1799.)

Portsmouth Breeze.

28. A Visit to the Synagogue.

May 26. This is the House in Gloucester Place. Plate 1.

Do. do. do. " 2.

(The York and Clarke Scandal. See 'The Delicate Investigation,' vol. ii. pp. 135-162.)

July 18. An Old Catch newly revived. 'York and Clarke Scandal.' (See 'The Delicate Investigation,' vol. ii. pp. 135-162.)

APPENDIX

APPENDIX.

ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES.

CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.

Further information is open to enquirers who are interested in tracing the works of the caricaturist. The important catalogue of the satirical prints and drawings in the British Museum, now in course of publication, will include all the examples found in that institution, if the Trustees decide to continue it beyond the limit originally settled (about 1770). The preparation of the catalogue in question, which has been placed in the hands of probably the very ablest authority on the subject of satire who has ever lived, is of necessity a work of time. The elucidation of the earlier graphic satires has occupied years of patient industry, by which alone the social and political pictorial 'skits' could be made intelligible--an undertaking which the lapse of time annually makes more complicated as regards the interpretation of those lighter trifles of bygone times, which, in spite of their triviality, often possess an historical value, unintelligible to the majority of students, because hidden away in the obscurity of allusions beyond the vision of the present generation.

The task of tracing and explaining the intentions of the graphic satirists, commenced by Mr. Edward Hawkins, original owner of an immense collection of their works, is being continued and successfully carried out for the Trustees of the British Museum by Mr. Frederic George Stephens. The catalogue, an important contribution to the history of the subject, has, as we have said, already been years in hand, and is slowly but surely advancing through the comparatively lost paths of the past. A new light has been thrown upon the satires of the times of the Tudors, the Stuarts, the Commonwealth, the Restoration, the accession of the Prince of Orange and of the House of Hanover. The results of the editor's painstaking researches are completed and open for consultation up to the conclusion of the Hogarth period; the notices upon the works of the great luminary of the school, which are included in the volume published in the present year, will be found of so thoroughly exhaustive a character, that the interest generally felt in Hogarth is likely to be increased, especially as a considerable amount of entirely new and curious matter has been discovered by Mr. Stephens in the course of his investigations.

CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.

Div. 1. Political and Personal Satires. Prepared for publication by Frederic George Stephens, and containing many descriptions by Edward Hawkins, late Keeper of the Antiquities, F.S.A. Printed by order of the Trustees. With an introduction by George William Reid, Esq., Keeper of the Prints and Drawings in the British Museum.

* * * * *

A selection of subjects, treated by Rowlandson with more freedom than is consonant with the taste of the latter half of the nineteenth century, is also given by PISANUS FRAXI, in his elaborate and exhaustive work CENTURIA LIBRORUM ABSCONDITORUM (1879). Pisanus Fraxi has set down (pp. 346-398) descriptions of over one hundred and twenty subjects of more or less erotic tendency. The major part of the etchings included by this authority are of necessity inadmissible in the present work, owing to their licentious suggestiveness; but a few of the subjects described in the 'Centuria Librorum Absconditorum,' restricted exclusively to social caricatures by Rowlandson, the originals of which maybe consulted in the Print Room and Library of the British Museum, are also instanced in the foregoing pages.

* * * * *

ORIGINAL DRAWINGS BY T. ROWLANDSON IN THE PRINT ROOM OF THE BRITISH MUSEUM.

Blood Royal. Duke of Cumberland, with spyglass, followed by his footman. A back view of the Prince Regent, shown in the distance, talking to some officers.

A Drunkard. An inebriated figure has fallen, in a state of partial insensibility, on his back, in a spirit-cellar, leaving the liquor running; a stout and by no means elegant female, of evidently Dutch construction, is trying to bring the toper to consciousness by the use of a birch-broom.

The Trout Fisher Rising.

Rowing for the Coat and Badge.

A Prize Fight.

Domestic Tranquillity.

Portsmouth Harbour, 1816.

Landscape (in Gainsborough's manner).

A Market Town in Cornwall.

A Continental Scene, 17th century. Lady in coach, running footman before; piazza in distance.

Landscape in Cornwall.

'Putting up Horses.' A country scene.

Portrait of George Morland, full length, standing before a fireplace in a well-appointed apartment. (About 1787, when Morland was living in considerable style at a handsome new house, the corner of Warren's Place, Hampstead.) The person of the artist is carefully studied, and the items of his dress are most characteristically noted, this being the time of Morland's most marked foppishness.

Guildhall Association.

Portrait of a Lady.

A Beau and his Chronometer.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF GEORGE WILLIAM REID, ESQ., KEEPER OF THE PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.

View of a Castle. View near Bridgport, Dorsetshire. View in Devonshire.

* * * * *

WINDSOR CASTLE. THE ROYAL COLLECTION.

An English Review. Purchased by George IV. A French Review. Ditto.

* * * * *

ORIGINAL WORKS BY THOMAS ROWLANDSON IN THE SOUTH KENSINGTON MUSEUM. (COLLECTION OF WATER-COLOUR DRAWINGS OF THE ENGLISH SCHOOL.)

The Parish Vestry, 1784. Bequeathed by William Smith, Esq. Brook Green Fair (about 1800). Bequeathed by William Smith, Esq. The Elephant and Castle Inn, Newington. The gift of G. W. Atkinson, Esq.

* * * * *

DYCE COLLECTION, SOUTH KENSINGTON MUSEUM.

Landscape. 11 × 8. A roadside inn, where three officers have stopped for refreshment; one is seated by his mistress and gives alms to a beggar woman; another, likewise seated, is absorbed by the bottle and wine; the third is standing at the door and using his eyeglass. Signed 'T. Rowlandson, 1784.' Engraved in this work. See _Benevolence_, vol. i. p. 316.

View on the Thames off Deptford, with a large number of vessels near the Dockyard. 16 × 10. Men who have been bathing scramble into a boat on the left, very near the holiday parties which are passing to and fro.

Hampton Bridge, on the left; boats on the river, two of which are pleasure ones; a stout old fellow is on the left, with his wife on his arm, and a long pipe in his mouth. 16 × 10.

Hampton Court Palace. 16 × 10. View of the open space in front, with a carriage and four horses, and its military escort, leaving the gate; a carter with horses on the left, and, on the right, four idle fellows amusing themselves by teaching a dog to 'beg.' Signed 'Rowlandson,' and dated 1820.

Landscape. 16 × 10. Timber waggon drawn by eight horses crossing a bridge, which spans a rapid stream struggling between high rocks; cottages are on the left, one by the roadside, and another on the hill.

Portsmouth Harbour.[29] 13 × 8. Lord Howe's victory: the French prizes brought into the harbour. The people assembled on the ramparts cheering, a group in front scrambling to get possession of the top of a wall. Signed 'Rowlandson.'

Portsmouth Harbour. 17 × 11. A repetition of the last, with numerous additional figures introduced, and more highly finished than the other. Signed 'Rowlandson,' and dated 1780.

Exterior of Strawberry Hill. 14 × 9. A gouty old gentleman, his wife and dog, promenade near the walls; another old fellow either enraptured by a glance of the building or making love to two servant-girls who look over the wall. A donkey braying across the fence to the left.

Landscape, with a large flock of sheep browsing on downs, and guarded by a young shepherd, whose wife is working at his side; a dog is looking at him. 9 × 5.

Bridge at Knaresborough, Yorkshire. 13 × 9. 'The World's End' inn on the left, and the landlord directing persons in a cart, who have probably stopped for refreshments. Signed 'Rowlandson,' and dated, 1807.

'Sir Henry Morshead felling his timber to settle his play debts.' 9 × 5. Three men chop and fell trees, a fourth takes instructions from a soldier on guard; a parson stands near. Signed 'Rowlandson,' and dated 1816.

St. Austell, Cornwall. 9 × 5. View, looking up the principal street, the church in the distance; groups of persons in the foreground are scrutinised by a hairdresser who stands at his door.

Kew Palace. 16 × 11. Seen across the river; a boatman steadying his boat for three stout persons to enter it; two ladies already apparently occupy all the spare room; other pleasure boats are on the water, some with sails.

Landscape. 15 × 11. An approach to a village across a bridge, a woman carrying a bundle; a horseman and other figures are in the foreground.

Museum of Ancient Paintings in the Palace of Portici, near Naples. 8 × 5. Three gallants, including two military officers, attend a young lady; her father is behind, accompanied by the custodian. _Vide_ 'Naples and the Campagna Felice,' 1815, _ante_, pp. 301-2.

Glastonbury, Somersetshire. 9 × 5. View, up the principal street, with a church in the distance; a carriage, with post-horses at full gallop, frightening a woman riding on a donkey near; women gossiping while getting water at the conduit. The subject etched by the artist as plate 24 of 'Rowlandson's World in Miniature,' No. 2, 1816.

'Betting Post.' 8 × 5. View on a racecourse. A crowd of ruffians on horseback surround a man who is about to read a list of the names of the favourite horses, but is interrupted by the impatience of his companions, whom he endeavours to prevent riding over him; a gouty old fellow, also on horseback, carries his crutches with him. Engraved in this work. See description, vol. i. p. 257.

ILLUSTRATIONS TO 'THE TOUR OF DR. SYNTAX IN SEARCH OF THE PICTURESQUE.'[30]

Dr. Syntax pursued by a bull. 7 × 4.

Syntax, still trembling with affright, Clung to the tree with all his might. Vol. i. p. 40.

Dr. Syntax drawing from Nature. 7 × 4.

The Doctor now, with genius big, First drew a cow, and then a pig. Vol. i. p. 121.

Dr. Syntax at a card party. 8 × 4.

The comely pair by whom he sat, A lady cheerful in her chat.--Vol. iii. p. 163.

The remainder of the series appear to have been designed for the work, but not etched nor used as suggestions to Mr. Combe, excepting those noted. It may not be generally known at the present time that the Tours were written to elucidate the designs, which the following introduction fully explains: 'This second tour is, like the former one, a work of suggestions from the plates by Mr. Rowlandson, though not with such entire reserve as the first. Some few of the subjects may have been influenced by hints from me; and I am willing to suppose that such are the least amusing of them.'--_Introduction to the second volume_, 1820.

Dr. Syntax--unable to pull up at the Land's End--is fearful of being carried to the World's End. 10 × 7. View on the coast during a storm, with the vivid flashes of lightning frightening the people, and the heavy waves dashing on the shore.

Dr. Syntax taking wine with a lady in a drawing-room, while the daughter of his hostess and her lover exchange caresses on a rustic seat under the verandah.

Dr. Syntax thrown off his horse while hunting. 7 × 8.

Your sport, my lord, I cannot take, For I must go and hunt a lake.--Vol. i. p. 108.

Mr. Combe no doubt thought it as well, although availing himself of the hint that hunting was not suited to the Doctor's taste, to mention the fact of the Doctor being asked to join the sport, and his declining the invitation, as he was about to make some drawings on the lake.

Dr. Syntax leading a lady to the entrance of a grand mansion: most probably giving the idea of the Doctor escorting Lady Bounty from the garden to her mansion on their first interview. 9 × 5.

For while he sojourns he will be The object of all courtesy.--Vol. ii. p. 217.

Dr. Syntax gazing at some ruins; a man and boy in attendance. 8 × 4. One plate was probably thought sufficient to illustrate 'Sketching the Ruins, and Tumbling into the Water,' through his seat giving way, the latter one being used.

But now, alas! no more remains Than will reward the painter's pains. Vol. i. p. 71.

Dr. Syntax in the Jail; a young fellow and three dogs on the left. 7 × 4.

Boarding a Man-of-war. 8 × 5. A boatload of people awaiting their turn to ascend a rope ladder, on which a gentleman of the party is fixed in rather an uncomfortable position. _Vide_ 'Naples and the Campagna Felice,' 1815, _ante_, pp. 301-2.

Dr. Syntax frightened by the appearance of a large fish having a form resembling that of a whale; his companion and some fishwives are also greatly alarmed, and a few of them lie sprawling on the ground. 8 × 4.

Dr. Syntax drawing the waterfall at Ambleside, while his man Patrick is eating voraciously. 8 × 5.

Bold sketches from the very scene Where, with his neighbours, he had been. Vol. ii. p. 64.

A Lady repulsing with the poker her guests, consisting of eight gentlemen, among whom is the Doctor; her dog by her side appears to be equally pugnacious. 8 × 5.

Dr. Syntax riding and chatting with a lady, under an avenue of trees; a footman behind them. 8 × 5.

Dr. Syntax playing at cards with a young lady; an old wooden-legged officer seated near, apparently not in the best of tempers; three other young ladies seated on the sofa take much interest in the game. 8 × 5.

Dr. Syntax gently opens the door of a garret, and is horrified to find a woman of the _pavé_ reclining back in her chair dead; a dog is seen on the left playing with her wig. 8 × 4.

Dr. Syntax skating and saluting three ladies who stand on the bank of the frozen river. 8 × 5.

* * * * *

The following drawings by Thomas Rowlandson, with several engravings of his London views, already described under the accounts of his prints in this work, were exhibited (1879) in the western portion of the Exhibition Galleries, South Kensington, in the valuable and interesting series of

VIEWS OF LONDON AND WESTMINSTER. COLLECTED AND EXHIBITED BY JOHN GREGORY CRACE, ESQ.

Entrance to Blackwall Docks, 1801.[31]

Perry's Dock, Blackwall, 1801.

View of the Reservoir in the Green Park, looking south (towards Westminster), 1810.

* * * * *

Original drawing of Brooks's Subscription Room, in the possession of

HENRY BANDERET, ESQ. BROOKS'S CLUB.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN POSSESSION OF W. R. BAKER, J.P., ESQ., OF BAYFORDBURY PARK, HERTFORD.

At Bayfordbury Park--where, it will be remembered, the celebrated collection of the Kit Cat Club, a national gallery of portraits, by Sir Godfrey Kneller, of the most interesting character, has its home--the choice examples of Rowlandson's skill appear to have been secured by the family at one time, and that at what may be considered the artist's best period--a little before the production of _Vauxhall Gardens_, and the series contributed to the exhibitions of the Royal Academy.

The Bath Coffee House. A highly amusing interior, representing the various fashionable characters to be met with on the Great Bath and Bristol Road a century back.

Rustic Scene. Carters' horses watering.

Scene outside a Lodge in a London Park, crowded with animated groups of folks of _bon ton_, as they might be seen disporting themselves in the fashionable resorts, where the 'best company' of the day was to be encountered in 1785.

The Waggoner's Halt.

Sailors Soliciting Charity. A party of Rodney's 'old salts,' disabled, and reduced to appeal to charity; a model of a ship-of-war is dragged about on wheels to attract the attention and sympathies of the passers-by.

French Barracks, 1786. A highly finished example of one of Rowlandson's most famous subjects (exhibited at the Royal Academy, 1787). It probably preceded the exhibited drawing, since it is executed on a somewhat reduced scale to that of the engraving. A full description of this admirable design is given under the list of subjects belonging to 1791 (Aug. 12).

Death and the Apothecary. This subject is drawn in Rowlandson's most careful method. In the writer's opinion it is one of the earliest examples of the artist's finished works which have come under his attention, and is probably of the same date as the _School of Eloquence_, mentioned under 1780, which, as he has noted, has suffered at the hands of the anonymous etcher. Death, as a grim skeleton, is intruding into the apartment of an invalid by the window; the patient has armed himself with a gruelspoon to ward off this sudden attack from the unassailable foe, while a corpulent apothecary, standing in ambush behind his client, has snatched up a gigantic syringe, which he is pointing, by way of a great gun, at the bony framework of the ghastly actor who has dropped in to complete the quack's handiwork and snatch away a profitable customer. The whole of the background is worked out like a fine etching, in a fainter line than the figures, much in the style which distinguishes the etchings of Mortimer.

Hertford Market Place (market day). This view of the old county town of Hertford is one of the finest and most interesting of those drawings which Rowlandson has left of the quaint towns of his day. It is altogether of an important character, being nearly 30 inches in length. It represents the Town Hall, the market-place, and certain picturesque ancient houses, faced with carved scroll-work, which front the corner hard by. The traveller will find these buildings exactly as Rowlandson viewed them a century ago; and, on a market-day, he will see the dealers' stalls, the country people busying themselves about their purchases, and the gentry passing or riding by, called to the town on local affairs, in some respects the same as a century ago. This scene, animated in itself as it is presented in our day, falls very far short of the prospect the artist has preserved, for the antique costumes have disappeared; and, comfortable as may be those of the generation who occupy themselves on the spot, the attractions found in the caricaturist's picture are looked for in vain; for the light flowing robes, the hats and feathers which aided the winning graces of the fair, the nodding plumes, and the scarlet and gold of the military bucks, the rustling silk cassocks, shovel-hats, and full-bottom wigs of the Church dignitaries, and all such characteristic accessories of the scene, no longer display themselves to assist the observer's sense of the picturesque.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF W. T. B. ASHLEY, ESQ., DECEASED.)

The Faro Table at Devonshire House. 1797.

Bricklayers' Arms on a Race Day.

Rape of the Sabines.

Nymphs of King's Place.

Prize Fight between Cribb and Molyneux.

Portrait of a Pugilist.

Tilbury Fort. The Stile.

Windy Weather.

Female Portrait.

'Thus, whatsoever course we bend, at every mess we find a friend.'

Exhibition of Baboons at the Tower Menagerie.

Going from Market.

Rag Fair in 1802.

The Punch Bowl, or the Loving Cup, with Commodore Regaling. (Grog on Board.)

The Peasant Girl and Amorous Dignitary.

Village, with old Inn and Church. Market Day.

The Coal Hole. (Figures eating oysters, drinking punch, &c.)

The Family Supper.

The Sick Man, surrounded by his Family.

Napoleon, on his return from Elba, Surveying Paris from the Window of the Tuileries.

The Old English Drinking Club, with effects of alcohol after free libations to Bacchus. 1798.

The Mischievous Urchin and the Blind Fiddler.

Man Selling Images. Man Selling Fowls. Man Selling Cakes. (Cries of London.)

An Enthusiastic Itinerant Preacher: the Adventures of Thomas Wildgoose.

The Town Crier.

Mutual Recriminations, and Plymouth Dock.

The Oyster Wench.

The Pic Nic.

Anatomical Lecture.

The Chelsea Stage Coach.

The Squire's Kitchen.

Barrow Women Basting the Beadle.

Militia Meeting.

Drawing from Life at the Academy. 'Given to my old friend, John Thomas Smith.'

Nymphs Bathing. Satyr and Nymphs. Nymphs and Tritons.

Scene at a Steeple Chase.

Figures Carousing, Death in Waiting. (Deadly-lively.)

Milk Seller. The Unsuspicious Husband.

An Artist Painting a Portrait.

Villagers Dancing to a Fiddle.

Interior of a Church during a Sermon.

William Hill, the Blind Sexton at Cambridge.

The Burglars.

Sale by Auction of Old Materials at Westminster; with view of the Abbey and old houses.

Greenwich, with view of the Old Salutation Tavern.

The Studio.

Bathing.

Sitting out a Long Sermon.

The Milkmaid.

The Old Commodore, Admiral Paisley.

Harlow Bush Fair.

Rooks Waiting for Pigeons.

Posting in Scotland. Posting in Ireland.

Saving the Old China from Fire.

Hunting Party, with Hounds, at the door of an Inn.

Funeral Ceremony.

Group of Soldier and Sweetheart.

An Auctioneer.

Specimens of Comparative Anatomy, and Illustrations of the Pythagorean Doctrine. (A series.)

Peace and Plenty.

How to get rid of a troublesome Customer.

A Catchpenny.

Interior of an Eating House.

The Vicar Removed.

Delineations of the Passions and various phases of Character. (A series.)

Teetotal Feast.

Monkey Island.

Scene by the River.

The Magic Lantern.

Village, with Procession of Dignitaries of the Church to the Tavern.

Drunken Pensioner in a Critical Position.

Mrs. Sturt and her Pupils.

Stock Jobbers.

Sepulchres.

Domestic Jars.

Cranbourn Alley.

The Gourmand.

Nobleman Cutting down his Timber to Pay his Debts of Honour.

Tax Gatherers.

The Reading Room.

Evening Party.

Leaving Home.

Wayside Inn.

Parties at an Inn-door.

The Post Chaise.

Apothecary's Shop.

The Old Gentleman and his Young Wife.

Groups of Human Heads. (A series.)

The Broken Pitcher.

Jupiter and Leda.

Tender Appeal.

Petition.

Skating Scene.

Wrestling Match.

Balloon Hunting.

'We three Cunning Dogs be.'

Three Dignitaries of the Church.

The Special Pleader.

Scene in the Opera.

Horns to Sell.

Selling the Elixir of Life.

The Meat Market Evacuated, or the Sans-Culottes in Possession.

Flea-Catching.

A Turk and a Tartar.

Neapolitan Tricks.

Interior of a Pawnbroker's Shop.

A Scold.

The Shipwreck.

Robbing the Miser of his Gold.

The Bachelor's Bitter Cup.

The Vicar at Dinner.

The Old Husband and Young Wife.

The Apothecary's Shop. Death at the Mortar.

Selling Signor Puffado's Sauce à la Russe.

Portsmouth Point.

A Woolcomber at Work.

Elopement from School.

The Hurdy-Gurdy Player.

Connoisseurs Looking at a Picture.

An Old Hag Looking out of Window, with a Cock and Breeches Below.

An Elderly Lady at her Toilet, holding a Rose and viewing herself in a Mirror, &c.

Good News--Bad News.

A Pig's Whisper.

A Waiting Maid's Insinuation.

Scene with Highwaymen.

Halfway House.

Mishaps.

One Tree Hill, Greenwich Park.

Rural Recreation.

Cottages near Buckingham.

The Laboratory.

Money-Changers.

Nuns at Devotion.

Nuns at a Window, Selling their Wares to Admiring Cavaliers. ('Pastime in Portugal.')

Launceston, Cornwall, an Auction Proceeding.

Sea Coast, with Fishermen.

Eating Oysters, a First Course.

Market Day.

Landscape, with Figures Dancing before a Country Alehouse. Skittle-Playing, &c.

Landscape, with Sportsmen and Cottage.

View on the River, 1791.

Sketches of Two Female Figures.

Rural Courtship.

The Old Debauchee Carried to Bed.

The Unequal Match.

Hulls of Men-of-War Ready to be Launched.

'Sculls? Oars?'

The Market-Mishap.

Landscape, with Monks at Devotion.

Farm-shed: Children at Play.

The Sick Patient, the Doctor, and the Enraged Wife.

Divinities and Divines.

Surgeon and Apothecary.

Mrs. Grant's Bagnio.

Watchmen Taking an Unprotected Female to Prison.

Country House. Figures at Table.

Dr. Accum Lecturing at the Surrey Institution.

Funeral Procession from a Country Mansion.

The Old Bailey during a Trial.

Departure of a Bride and Bridegroom in a Post-Chaise.

Levée Day at St. James's--Going to Court.

Hull of a Man-of-War.

Interior of a Kitchen--Family at Dinner.

The Apparition.

Blacksmith's Shop.

Old Alehouse Door.

Clearing the Premises without Consulting your Landlord.

'Be cautious upon what you fix your affections, and withdraw your neck from the yoke.'

The Old Commodore.

The Apothecary in Adoration.

Heads of Doctor Gosset, Governor Wall, and Doctor Gall, 'drawn by T. Rowlandson, and given to his old friend, Mr. John Thomas Smith.'

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF THE EDITOR OF THE PRESENT VOLUMES.

The Tuileries at Paris.

A Celebration at the Great Room of the 'Crown and Anchor' Tavern.

Love and Dust.

Large Landscape--View in Wales: Fishing, Netting, &c.

Summer Amusement, or a Game at Bowls.

Large Classic Landscape--Water Nymphs, &c.

A Press Gang.

Dissolution of Partnership, or Striking a Balance.

_Une Bonne Bouche!_ (A Titanic gourmand with an entire sucking-pig impaled on his fork.)

A Turk and a Tartar (the Tartar in this instance being a high-spirited nymph, a flower-girl).

A Cry for a Cat. (A beadle going round with his bell, &c.)

A Travelling Princess, and an Indifferent Ambassador. (Caroline of Brunswick, &c.)

Sortie from a Levée.

New Flora.

Awkward Attendant--'Hints to Footmen.' (On the reverse the sketch of 'a Masquerade.')

Private Amusement--Noble Science of Boxing. 'Nobility and Gentry taught.'

Fashionable Beauties. (A pair of Nymphs of St. James's.)

A Nincompoop, or Henpecked Husband.

Ram Inn at Newmarket--Card-Sharpers and Countrymen.

A Little Tighter.

Sly Boots.

The Apparition.

How to Treat a Refractory Member.

A Finishing School.

Luxury and Avarice.

Lust and Desire.

'The Vicar of Wakefield.'

'The Vicar of Wakefield': The Family Picture.

The Old Bailey.

Hunting Scene in a Park.

A Park--Horses and Figures.

View of Clifton.

Garden Pastimes.

Rocky Landscape:--Bathers at a Stream.

Hussar taking Refreshment at a Cottage Door.

John Thomas Serres. The Husband of the Princess (The 'Princess' Olive of Cumberland).

Miseries of Reading and Writing:--'Losing the post when you would as willingly lose your life.'

Syrens Catching a Porpoise.

Rag Fair, 1801.

Landscape Scene.

A Mad Dog in a Dining Room. (See 1809, page 133.)

Clifton from the Heights.

The Quay.

A Shipping Scene.

Greenwich Geese.

A Wild Landscape.

A Toad-Eater.

Incantations.

The Dolphin Inn.

Bob Derry of Newmarket.

Buy my Strawberries.

An Old Sinner.

Stolen Kisses.

The Highwayman betrayed.

A Prize Fight.

Contrasts: The Long and the Short of it.

A Clockmaker's Shop.

A Neapolitan Ambassador. (Lady Hamilton, &c.)

Seeking among the Slain after the Fall of Troy.

Forget and Forgive, or Honest Jack shaking hands with Mynheer.

Playing Tricks upon Travellers; or, Disturbed by Sham Spectres.

Veteran Topers.

A Jew Family.

Lethargy.

A Nun of Winter's Sisterhood.

The Butterfly Fancier on the Wing, or the Tulip Fancier's Flower Beds Sacrificed.

Pair of Female Figures.

Smoking a Customer.

Preparing to Start.

Landscape, Sea-Shore, Boat-Building.

Monmouth.

Entrance to the Town of Carnarvon, Wales. 1804.

Poets' Corner, Westminster Abbey.

Cottage in Devonshire.

Lord Fitzwilliam's seat near Malton, Yorkshire. 1803.

Oxford Jockeys, or the Landlord in Trouble for his Cattle.

Dutch Market Women landing at the Brill.

View on the Maeze, Holland.

Dock Head.

Yarmouth, in the Isle of Wight.

Market Place at Yarmouth, Norfolk.

Mode of Travelling in Holland.

Travelling in Germany.

Travelling in the Prussian Dominions.

The Market Place, Dusseldorf.

View of a Post House in the Emperor of Germany's Dominions.

Inn Yard at Cologne.

Brighton Downs.

Blackheath.

View of the Thames from Blackheath.

Diana in the Straw, or the Squire, a treat for the Quornites.

Trying on her Mistress's Clothes, or a peep into the Kitchen. 1801.

The Castatrophe, or Crash to the Grandmother's old China.

A Visit from Houndsditch to Pall Mall.

Admiral Nelson recruiting with his brave Tars after the Battle of the Nile.

Views of Oxford and Cambridge:--

North View of Friar Bacon's Study at Oxford. View of Oxford Castle. View of Queen's College, Oxford. A View of the Theatre, Printing House, &c., Oxford. Inside View of the Cupola in the public Library. Merton College and Chapel, from the First Quadrangle. Merton College. Oxford. A Western View of All Souls' College. Oxford. The Libraries and Schools from Exeter College Gardens. A South View of the Observatory. Oxford. St. Peter's House. Cambridge. Trinity College. Cambridge. King's College and part of Clare Hall. Cambridge. View of Jesus College. Cambridge. Trinity College and Library, and part of St. John's College, Cambridge.

Views in Cornwall, Devon, &c.

View on Bodmin Downs. Cornwall. Hamethothey Mill. Cornwall. Hengar House, near Camelford, the seat of Matthew Mitchell, Esq. Cornish Cottages. Corn-mill in Cornwall. Cornish Scene. Collecting the Tythes. Liskeard Moors. Cornwall. St. Columb. Cornwall. St. Kew Church near Wade Bridge. Cornwall. View near Bodmin in Cornwall. Treelile House, North Cornwall. Cottage, near Landhearn. Cornwall. The Barrow Sands. North Coast. Cornwall. Stone Bridge. Cornwall. Hengar Woods, near Camelford. Cornwall. Hengar Woods. (Another view.) Cottage on the Router Moor, near Camelford. Cornwall. Vicarage of St. Udy, near Bodmin. Cornwall. Stone Bridge. Cornwall. Shipwreck. Cornwall. Monastery. Cornwall. Near Truro. Cornwall. View of the Convent at Landhearn, near St. Columb. Cornwall. The seat of Lord Arundale. Cottage in Cornwall. Old Buildings. Cornwall. Roadside and Bridge. Cornwall. Cottage near Launceston. Cornwall. The Disbanded Soldier. Camelford Cattle Fair. Cornwall. Cottage. Devonshire. Near Plymouth. A Travelling Tinker. View at Fair Point. Plymouth. View near Taunton. Somersetshire. Taunton Vale. Somersetshire. A Wheelwright. Devonshire. Country Carpenters. Devonshire. Near Conway. North Wales. Falls, Conway. North Wales.

Wells.

Bath.

Bath Races.

Pump Room. Bath.

The Bath. Bath.

City of Norwich.

Ouse Bridge. York.

York Cathedral.

Entrance to the Town of York during the Races.

Views on the Thames:--

Richmond. Town Hall and Market Place at Kingston-upon-Thames. Mr. Zoffany's House at Chiswick. Greenwich. Near Pyrfleet. Fishing House at Chertsey. Hampton Bridge. Hampton Wick. Near Richmond. Near Datchett. Near Bray.

The Waggoner's Rest. Moonlight.

War time. Gun, Horses, and Ammunition.

Embarkation of Troops for La Vendée.

Troops on the March; convoying Stores.

The Surrey Fencibles dispersing the Rioters in St. George's Fields. June 13, 1795.

Embarkation of Cavalry.

Troops on the March; Bag and Baggage.

Waggoners.

The Passage Boat.

The Serenade.

Hunting Morning.

Market Day at Aberystwith.

Camp-followers.

Near Lewes. Sussex.

Disasters of the Streets. Chairmen in a Dilemma.

Coach in a Slough.

A Coach Wrecked.

Turks.

Returning from a Country Party.

The Smithy.

A Showery Day.

Fireside at an Inn.

A Bar Parlour.

Devotion.

Rag Fair. Pair of Views.

Concerto Spirituale.

The Dog Barber. La Francia.

The Village Barber.

An Unwelcome Visitor.

New Shoes.

Shot at a Hawk. Scene at Newmarket.

Sunday Morning at Cambridge.

Visit to the Camp.

Patience in a Punt.

A Town-bred Brat. 1802.

A Wayside Meeting.

College Service.

Stock Jobbers.

Loan Contractors.

The Propagation of a Lie (in three slips).

The Pleasures of the Country, or returning from a Visit across a Muddy Road.

A Snug Rubber, or Playing for the Odd Trick.

Making a Bowl of Punch.

Old Age, Condolence on Crutches.

Saved.

Drowned.

Jerry Sneak and Mr. Sullen. A Henpecked Husband.

Scene from 'King John.'

_Arthur._ Let me not be bound. Nay, hear me, Hubert, drive those men away.

A Flat between two Sharps. Outside a Billiard Room. 1803.

A Journeyman Tailor.

Green and Large Cucumbers.

The Dancing Bear; or, the Graces, the Graces, remember the Graces!

Counsellor Humbug, or Guardians of our Property, here and hereafter.

Quaker Courtship. Waiting for the Movement of the Spirit.

Methodists broke Loose.

Market Place, Richmond, in Yorkshire.

Green Man near Nottingham. 1803.

View of Nottingham.

The Meal in the Shade.

Labourers at Rest.

Near Canterbury.

Officers Holding a Review.

Fish Market at Brighton.

The Rising Sun. Halt at an Inn.

Putting off to Sea. A Breezy Day.

Cabin of a Man-of-War. Drinking a Toast.

A Cottage Scene. Washing Day. Pigs Feeding.

Exeter Gaol.

A Man-of-War.

Devon.

Lincoln.

Market Day. The Golden Fleece.

View of Stamford, Lincolnshire.

Cattle at a Waterfall.

The Royal Oak.

Country Courtship.

Near Honiton. Devonshire.

Farm Yard near Honiton. Devonshire.

Sunday Morning.

Returning from Work.

The Waggoner's Inn.

Waterside Inn. 'The Boatman's Rest.'

Resting beside a Barn.

Carnarvon Castle Gate.

The Windmill.

The Sailor Saved.

Near Beverley. 1803.

Ships Unloading.

Driving Home Cargo.

View of the River Itchen, near Southampton.

Southampton Waters.

Carisbrook Church and Castle, Isle of Wight.

Soldiers Drinking.

Troops stopping to Refresh on their Road to Join the Camp on Barham Downs. Aug. 20, 1799.

Returning from a Race.

Cottages and Park.

The Road to the River.

Waggon and Horses Climbing a Hill.

Saturday Night. Repose from Toil.

The Wounded Soldier. 1804.

Horsemen Drinking outside an Inn.

Newgate. Morning of an Execution.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF THOMAS CAPRON, ESQ., ARUNDEL HOUSE, RICHMOND.)

Mr. Capron's selection contains numerous subjects from the collections of Lord Farnham and the late W. T. Ashley, Esq. Besides being the owner of a very fine selection of the best prints after Rowlandson, many of considerable size, value, and importance, (for the loan of several choice examples, which are both rare and difficult to obtain, the writer begs to record his grateful acknowledgments to the fortunate possessor;) Mr. Capron has also collected quite a gallery of original drawings; among the number are some truly capital examples. The titles of a selection from the numerous subjects are as follow. (See also the collection of the late Mr. Ashley.)

French Barracks.

Cries of London.

Plymouth Dock.

Street Musicians.

Portsmouth Point.

The Love Letter.

Grog Aboard.

The Female Volunteer.

Relief from Hard Study.

Hen and Chickens.

Late Hours at Mrs. Sturt's.

Temptation.

A Snooking Kenn.

_Fiez-vous à Filles_: Stripping a Cully.

Illustrations from _Johnny Quæ Genus_. Waiting on a Lady of Fashion.

Unpleasant Reflections.

State Pledges.

Matrimony. (_Dance of Life._)

The Cobbler's Method.

A Domestic Scrimmage.

'The Long wished-for Day come at Last.'

All Souls.

Beyond a Joke.

Nuns at Devotion.

Snow-balling the Blackamoor.

Concert à la Catalini.

Money Bags. A Golden Shower.

Westminster Abbey.

A Levee, St. James's Palace.

Presence Chamber, St. James's Palace.

Stock Exchange.

Brewers' Horses.

Arrival of the Post Boy.

Epsom Downs, or More Downs than One. 1816.

John Bull stuck in a bog in France.

Jean Crapaud run away with in England.

The Laboratory.

A Duck. 1823.

Humours of a Rustic Inn.

The Club.

The Coal Hole.

The Cock Tavern, Fleet Street.

Mutual Recriminations.

Dragging the Pond.

A Pic-Nic. The Social Day. 1812.

Dinner at the Fair.

Althorpe Wells, Discovered by Queen Anne's Physician.

Leaving Home.

Clearing the Premises without Consulting your Landlord.

A British Tar, and Charitable Feelings.

Trying to Move a Jew.

Jew and Gentile, or Old Clothes and Doll Tearsheet.

A Superannuated Beau.

Ballet Master at the Opera House.

A French Noble in his Shooting Dress Sketched at Boulogne, 1778. First September, Trying the Sight.

Introducing a Pigeon to a Hazard Table.

William Cussons, Shaver. John Street, Adelphi.

The Walking Stewart, an Eccentric Character.

Dirty Work, Levee Day, or Court Ceremony.

Katharine and the Tailor.

A Banker's. (The Spider's Web). A Ready Money Customer.

A Banker's. (The Wasp). A Discount.

A Lowland Family.

Putting a Husband to Bed.

Old Cronies.

Recruiting.

The Ménage.

Billiards.

Lost and Won. Red Wins.

Saving the Old China from Fire.

Posting in Ireland.

Posting in Scotland.

French War. Interior of a French Prison. (An Abbey.)

A Cooper. A Farrier.

Travelling Savoyard. An Itinerant Showman. Bear, Monkey, and Performing Dogs.

Innocent Cause.

The Magic Lantern. A Galantee Show.

Sham Fits. 1802.

Deadly-Lively.

Doctor Graham's Cold Earth and Warm Mud Bath.

Volunteer Foot. Westminster Light Horse.

Admiral Paisley--'The Tough Old Commodore.'

Why, the bullets and the gout Have so knocked his hull about That he'll never like the sea any more!

Rent Day. A Light Piece.

An Apothecary.

A Ridotto.

A Pastoral Piper.

A Fresh Graduate.

Pomona, or Ripe Fruit.

Life Academy, Somerset House. T. Rowlandson. With inscription by the Artist: 'Given to my old friend Smith.'[32]

The Graces.

Nicolas Poussin: Venus, Mars, and the Loves.

Bellona.

An Apotheosis. Prometheus.

Nessus and Dejanira.

Acis and Galatea pursued by Polyphemus.

Etruscan Frescoes.

Venus and Cupid.

Neptune discovering Venus to the Tritons.

Pan and Syrinx.

Tritons and Nereids.

Doctor Syntax and the Bees.

'Doctor Primrose Preaching to the Prisoners,' and numerous illustrations to the 'Vicar of Wakefield.'

The major part of the Illustrations to 'The Dance of Life,' and a few Examples of the Designs for 'The Dance of Death.'

Pair of Large Hunting Scenes.

Diving Belles.

The Introduction. Mrs. Sturt's.

Mrs. Sturt and her Pupils (from Mr. Ashley's Collection).

Tuileries Gardens.

Stowe Gardens.

Richmond Hill.

THE FOLLOWING DRAWINGS HAVE ALSO COME UNDER THE EDITOR'S ATTENTION.

A Tailor's Wedding.

The Unwelcome Intruder. (1803.)

The Rival Butchers.

The Cobbler.

The Fishmonger.

Animal Magnetism: the Centre of Attraction.

The Alchemist.

The Pavior's Joy.

The Clamorous Tax-gatherer calling on the Doctor.

The Old Admiral.

Apples! a Street Cry.

Alms. An admiral (with a wooden leg) and his family relieving an invalided old sailor.

Mrs. Shevi in a Longing Condition (for a Little Pig).

Chevalier D'Eon at Angelo's Rooms. 'Angelo's Fencing Academy, also the Broadsword Exercise, Boxing, &c. Terms for Fencing, Lessons, &c.'

Washing in the Highlands.

A Butcher's Shop.

COLLECTION OF JOHN COLE STOGDON, M.A., ESQ., 18 CLIFFORD'S INN.

This gentleman, amongst a rich gathering of drawings, caricatures, and social satires, has secured numerous good examples of prints executed by Rowlandson, including the rare series of the 'Stages of Man's Schooling' (1802). We have to instance a spirited drawing by the caricaturist, which is in the possession of Mr. Stogdon: 'Forbidden Fruit.'

FIGURE DRAWINGS AFTER THE OLD MASTERS BY THOMAS ROWLANDSON, IN THE COLLECTION OF COLONEL GOULD WESTON, THURLOE SQUARE.

Venus: Carlo Marratti.

Venus: Bouchér.

Nymph Surprised by Satyr: Gerard Lairesse.

Diana and Hunter: Gerard Lairesse.

Diana and Nymphs: Giulio Romano.

Leda and Swan: Giulio Romano.

Venus Arranging her Hair: Andrea del Sarto.

Venus and Cupid: Andrea del Sarto.

Venus and Cupid: Palma Vecchio.

Lucretia: Andrea del Sarto.

Venus and Mars: Pietro de Cortona.

Rape of the Sabines: Polidore.

Leda and Swan: Canache.

Venus and Man Playing Guitar: Titian.

Susanna and Elders: Guercino.

Venus Sleeping--back exposed: Guercino.

Zulieka and Joseph: Domenichino.

Venus and Loves: Domenichino.

The drawings mentioned above, like most of the caricaturist's fluent renderings of subjects after the Old Masters, are far removed from mere copies or servile imitations, being, in actual fact, free adaptations of the works in question, strongly characterised with the individualities of Rowlandson's style.

Colonel Weston, in addition to this unique series, possesses a collection of original drawings by the artist, which includes, among numerous interesting examples of varying importance, one of Rowlandson's most graceful and finished drawings, worked out with a taste and delicacy altogether remarkable. The subject is a domestic scene, introducing two charming figures (likenesses in all probability) executed after the style of the portrait of Morland (mentioned in the first part of this work, now in the Print Room, British Museum, see p. 412), and evidently executed at the same period.

ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION IN THE POSSESSION OF JOHN WEST, ESQ., BAYSWATER.)

R. Moser, R.A., Keeper of the Royal Academy. A serious portrait, boldly executed, both outline and shadows put in with a reed pen, in the manner of Mortimer. Evidently a sketch made from life when Rowlandson was an Academy student.

Colonel O'Kelly taking a Private Trial previous to his Making a Match. (See Racing Series, 1789: The Betting Post, The Mount, &c.)

Race-horses arriving for a Spring Meeting.

The Gambler Going to Bed. (See pp. 208-210).

Congregation Leaving a Chapel. 1820. A large drawing, crowded with figures. (See collection belonging to William Bates, Esq.)

'As You Like It,' act ii. scene 7: Fifth Age. (Engraved.) The collection of Shakspearean subjects drawn by Rowlandson to illustrate the 'Seven Ages of Man' is in the possession of General Sir Henry de Bathe, Wood End, near Chichester.

An Anatomical Lecture.

The Morning Toilette. A fashionable beauty holding a _levée_ under the hands of her perruquier.

The Morning Meal.--

The cup that cheers but not inebriates.

The Tuileries Gardens, Paris. A small sketch for the larger drawing. (See collection in the Editor's possession.)

An Out-of-door Scene in Paris. (Companion.)

A Squabble in St. Giles's.

The Awkward Servant. (See collection in possession of the Editor.)

Horse-Racing: Introducing a Novice to a spirited Mount.

Mrs. Clarke and the York Shop. Mrs. C. receiving bribes as a commission agent.

'Tis woman that seduces all mankind.

Also in the collection of Thomas Capron, Esq.--

Portrait of a Foreigner.

Portrait of an Old Gentleman. The face of this figure may be a caricatured representation of the artist's appearance late in life.

Portrait of an Old Lady.

An Equestrian Military Portrait. (German officer.)

Portrait of a Quaker.

Looking at a Procession in the Park.

An Allegorical Design.

Carisbrooke Castle.

Hunting Scene.

The Thames at Twickenham.

The Social Day.

Interior of Exeter Cathedral (during sermon time).

View in the Environs of London.

Continental View, in Rowlandson's early manner (a cloister).

Yeomanry Cavalry Refreshing at an Inn.

Cattle Watering.

Scene at a Seaport.

Chatham: View of the Medway and Men-of-war; Troops and Military Train riding along the shore.

Waterside Scene, near a port on the South coast; Passengers landing, &c.

Views of Cornwall, Devonshire, Somerset, &c.

ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF JOHN CHESTER, ESQ., OF OLD SQUARE, LINCOLN'S INN.

Toilette of an Antiquated Belle. A large and fine drawing, after the school of the old masters.

The Village Festival. Figures dancing in a ring on the green, skittle-players, &c. Important subject, somewhat in the manner of Teniers the Younger.

Interior of a Pawnbroker's Shop. 'The Last Shift' (engraved and published November 1, 1808).

Taste, or Milord Anglais and Italian Picture-Dealers. (Engraved 1812. See p. 234.)

A Scold.--

A smoking chimney, and a scolding wife.

A Breezy Day.

Death at the Door. An upright subject, earlier than the series entitled the 'Dance of Death.'

An Old Miser and a Young Wife.

An Old Woman and her Cat at a Window.

Original frontispiece to the collected series of 'Miseries of Human Life.'

Designs for illustrations to the 'Dance of Death.'

The Squire. The Shipwreck.--

The dangers of the ocean o'er, Death wrecks the sailors on the shore.

ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF A. H. BATES, ESQ., EDGBASTON, BIRMINGHAM.

An Old Soldier's Widow. 6 × 5-1/2 inches.

A Fat Man and Death. 5 × 4.

The Widower's Consolation. 6 × 4-1/2.--

Two bores all at once have taken a trip: I've buried my rib, and got rid of the hip.

Woman on a rock by a stormy sea, on which is an empty boat, &c. 7 × 4-1/2.

Doctor Syntax at a Bookstall. Folio. (Engraved on a reduced scale in the 'Humourist,' by W. H. Harrison.)

A Nobleman Cutting Down his Timber to Pay his Debts. 10 inches in length.

A sheet of grotesque heads formed of vegetables, &c.

Death and the Glutton. Large 8vo.

Exterior of a Public House. 8vo.

Sepulchres. 8vo.

Doctor Eady and his Patients. 8vo.

Execution Dock. 5 × 6.

The Old Blind Sexton. Folio.

Three figures seated at table; one said to be the portrait of Hamilton, the artist. 8vo.

The Milkmaid's Tempter. 5 × 4.

Drawing-room scene. Milliner displaying a dress. Numerous figures, probably designed as frontispiece for a magazine of fashions.

Domestic Jars. 9 × 4 in. Man and woman quarrelling; the former seated in a chair, with a large bass-viol beside him.

LIST OF ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE COLLECTION OF WILLIAM BATES, ESQ., B.A., M.R.C.S, &c., BIRMINGHAM.[33]

'Cornish Peasantry.' 10-1/4 × 6-1/2. Five peasants, admirably grouped, seated on a sort of timber-cart, drawn by two oxen. Woody background. Signed 'Rowlandson.'

Acis and Galatea. 8-1/2 × 6.

Apollo and Daphne. 8-1/2 × 6. Companion to the above. A vigorously-drawn recollection of the antique.

The Cottage Door. 11-1/2 × 8-1/2. A group of rustics seated at the door of a cottage. On the right hand a man with a donkey laden with vegetables. In the manner of Morland.

'The Road to Ruin.' 13-1/2 × 9-1/2. The young squire is seated at a round table, with his mistress on his knee. Opposite to him is a 'led-captain,' dealing out cards and inciting the squire to bet. In the centre, standing at the table, is a plethoric chaplain, wholly intent upon the manufacture of a bowl of punch, the ingredients for which he is pouring simultaneously from two bottles into the bowl. The complete absorption of each of these personages in his own special object is admirably depicted.

Brentford Market Place. 17-1/2 × 12. An admirable drawing, exhibiting hundreds of market-people disposed in groups, with the Town House in the central background and the 'Three Kings' inn on the right hand. The grouping is excellent, the scene full of animation and bustle, the sense of space and general keeping perfect, and the whole equal in power and effect to the works of the Dutch painters.

Shepherd and Sheep. 17-1/4 × 4-1/2. A standing figure in the middle of a group of five sheep; something in the manner of Gainsborough.

The Funeral. 7 × 4-1/2. The parson advances, reading the burial service. Next comes the clerk, carrying a child's coffin, and followed by a group of female mourners, wringing their hands, holding handkerchiefs to their eyes, and some carrying umbrellas. To the right a female gravedigger, holding a spade in one hand and tolling the bell with the other. To illustrate the old song of 'The Vicar and Moses':--

When come to the grave the clerk humm'd a stave, Whilst the surplice was wrapped round the priest; When so droll was the figure of Moses and Vicar, That the parish still laugh at the jest. Singing tol de rol, &c.

An Oriental Scene. 8-1/2 × 5-1/2. In the foreground a gibbet, from which is hanging in chains the headless body of a woman. By the side an impaling-stake and wheel. Two men in foreign garb are looking on. In the distance a city, with towers and minarets.

'The Industrious Wife and Idle Husband.' 5-1/2 × 4. The wife is busily engaged at the washtub; a cradle, with twins asleep, at her back; while the husband, with pipe, glass, and jug, sits over the fire with a boon companion. Full of Hogarthian humour.

Burglars Alarmed. 11 × 9-1/2. A drawing of extraordinary vigour. A brutal-looking ruffian, in a frieze coat, holding a bloody knife in one hand and enjoining attention with the other, is striding over the corpses of two women, both with their throats cut. A second ruffian, with alarm depicted on his countenance, holds a candle in his right hand and grasps a bloodstained coal-hammer in his left. In the background a fate is seen peeping through a window. A piece that can hardly be looked at without a subsequent attack of nightmare.

Landscape. Lake scene, hilly background. 9 × 7. Very broad in treatment.

Commodore Trunnion and Lieut. Hatchway on their way to the Wedding. 14-1/2 × 8. (See Smollett's 'Peregrine Pickle,' vol. i. chap. 8.)

Jolly Companions. 11 × 8. A group of five, heads and shoulders. A man is apparently singing from a ballad-sheet. A woman at his right hand is blowing with the bellows, and the other faces are on the broad grin.

The Pipe Dance. 4-1/2 × 3. Two Punch-and-Judy-like figures dancing, and holding a pipe over head. Small, but very spirited.

The Forge. 9-1/2 × 6-1/2. A group of four horses outside a forge. The blacksmith holds up the hoof of one; the farmer stands by, and a woman advances holding a cup of ale. Signed 'Rowlandson, 1791.' As fine as Morland.

Maternal Solicitude. 6-1/2 × 4-3/4. A mother bends over her child on a couch, both entirely nude.

Nymph and Cupid. 7-1/4 × 5-1/2. A naked nymph recumbent; a winged cupid, bow in hand, descends towards her.

Henpecked Husbands. 10 × 6-1/4. A woman has hold of the greatly elongated nose of her husband in one hand, and belabours him with a whip in the other. On the left a group of women toss a husband in a blanket, and on the right a wife is thrashing her husband on the ground, whom she also holds by the nose.

Death in the Pot. 6 × 3-1/2. A plethoric figure drinks from a bowl, while a skeleton figure is about to strike him from above.

Zion Chapel. 13-1/2 × 8-1/4. A congregation of over fifty persons, who have just emerged from the portal of 'Zion Chaple' (_sic_), are passing slowly along. The door is blocked up by the departing worshippers; a fish-woman standing by indulges in some ribald observations, and a pious old lady holds up her hands in horror.

The Table d'Hôte. 13-3/4 × 9. A spirited and characteristic drawing, exhibiting a numerous company of both sexes seated at a dinner-table. French waiters, pig-tailed and nightcapped, are drawing corks, filling glasses, and flying to and fro with dishes, &c. One of the guests is teaching a dog to beg; a woman and girl, with tambourine and triangle, appear on the left to amuse the company.

Interior of a Prison. 9-1/2 × 6. From the collection of the celebrated Henry Angelo, the professor of fencing, who in his 'Reminiscences' (vol. ii. p. 324) gives an account of its production. Rowlandson, it appears, had been robbed one night, and went next day in search of the thief. 'We first repaired,' says the reminiscent, 'to St. Giles's, Dyott Street, and Seven Dials. In one of the night-houses four ill-looking fellows, _des coupes-jarret_, so attracted our attention that, whilst we sat over our noggins of spirits, as he (Rowlandson) always carried his sketch-book with him, he made an excellent caricature group of them for me, introducing a prison in the background.... He afterwards finished it for me in his best style, superior to the greater part of his works. This is now (1830) about forty years ago. The coloured drawing was once included in my collection.' Here we have the four thieves sitting and lying in various positions. Prisoners in another group are playing cards. Another ruffian is stretched at full length asleep in the foreground. The drawing, grouping, and colouring are alike admirable, and would have done honour to Salvator Rosa.

'The Miser Lying in State: the Prodigal Heir-Apparent.' 14 × 9-1/2. The 'heir-apparent,' with his profligate companions, male and female, is seated at a table, on which we see a punchbowl, &c. A coffin occupies an elevated position in the background, and from it appears to be struggling to emerge the supposed defunct miser, while an allegorical figure above seems to be nailing down the lid.

The Fire. 9-1/2 × 6. On the right a house on fire, flames issuing from the windows, the doorway crowded with watermen, and persons carrying out bedding and other effects. On the left firemen manipulating the hose and directing the stream against the flaming windows, in ridiculously suggestive attitudes. The central figure is an enormously fat woman, whose night-dress, drawn up to support a mass of crockery, displays her _Rubensesque_ and redundant charms to the watermen, who turn their grinning faces to gaze upon the spectacle.

'Leaving the Premises without Consulting the Landlord.' 11 × 8-1/2. A cart, seen at the back, heaped up with furniture, occupies the centre. A woman on the left laden with gridirons, warming-pans, &c. On the right a girl, graceful as one of Stothard's female figures, places in the cart a birdcage. In the foreground miscellaneous articles of minor furniture, and two children playing with the house-cat.

Outside the Court-House. 14-1/2 × 10-1/2. The scene is apparently the Magistrate's Court and the Town Hall in some county town. The ground in front is crowded with various individuals waiting for the cases in which they are interested to be called on. We see the farmer, the parson, a jockey, a huntsman, a footman, a butcher, a soldier, an actor, and many others. The beadle is seated on a step, making love to an old woman, who holds a tankard in her hand. Dogs are scattered about, attendant on their masters.

Interior of Eating-House. 7-1/4 × 5. A dining-table, at which are seated some seventeen people, male and female. One of the guests, a stout, portly man, has left the table, and is seizing his hat, as if offended. A neighbour attempts to restrain him, while the waiters appear amused.

Bridewell. 9 × 6. A procession of fifteen female prisoners are escorted through the courtyard of Bridewell from one department of the prison to another, in pairs, in charge of turnkeys, female warders looking on. Penitence, grief, and hardened impudence are admirably depicted on the several faces.

Returning from a Voyage. 9-1/2 × 6. A sea beach, with a schooner and sloops at anchor. A boat has just landed a group of passengers, among whom is a girl with a cockatoo on her wrist.

Pickaback. 4-1/2 × 3-1/2. A man, carrying a woman on his back, is fording a brook.

Picture Exhibition. 9 × 5-1/2. Connoisseurs at an exhibition of pictures.

Gaming House. 9 × 5-1/2. A drawing similar to that which serves as frontispiece to the 'Beauties of Tom Brown.'

Nymphs Bathing. 8-1/4 × 5-1/4. Eight female figures, entirely nude, sporting in a stream, or seated on its banks. Leafy background.

Nymphs Attiring. 8-1/4 × 5-1/4. Five female figures, entirely nude, seated on the banks of a stream, dressing their hair.

The Village Politicians. 15 × 9-3/4. Dated 1821.

FOOTNOTES:

[29] _Vide_ Biography, vol. i. p. 67.

[30] See account of the _Three Tours of Dr. Syntax_, _ante_, pp. 176, 247-252.

[31] Another version of the drawing, in the possession of the Editor, reproduced (p. 20) as 'The Quay,' in the introductory biographical sketch to this work.

[32] Antiquity Smith, Author of the 'Life of Nollekens;' once Keeper of the Prints and Drawings, British Museum, &c.

[33] See _George Cruikshank: the Artist, the Humourist, and the Man, with some account of his brother Robert. A Critico-Bibliographical Essay_. By William Bates. B.A., M.R.C.S.E., &c., Professor of Classics in Queen's College, Birmingham; Surgeon to the Borough Hospital, &c., with numerous illustrations by G. Cruikshank, including several from original drawings in the possession of the author. Houlston and Sons, 1879. Also _The 'Fraser' Portraits. A Gallery of Illustrious Literary Characters_ (1830-1838), drawn by the late Daniel Maclise, R.A., and accompanied by Notices chiefly by the late William Maginn, LL.D. Edited by William Bates, B.A., &c. Chatto and Windus, 1874, 4to.

INDICES.

INDEX OF NAMES, PERSONS, &c.

Ackermann, Rudolph (Rowlandson's publisher), i. 85, 89-93

Ackermann's _Poetical Magazine_, i. 33

Addington, Hon. H., 'The Doctor,' i. 246

Alexander, Emperor of Russia, ii. 281, 294

Angelo, Henry, 'Reminiscences,' i. 55, 64-6, 68, 70-2, 78-9, 85, 87-8, 287, 298-300, 374; ii. 5

Angelo's Fencing Rooms, i. 241

Angelo and Rowlandson at Vauxhall, i. 62-3, 156

-- and Son, Hungarian and Highland Broadsword Exercise, i. 374

-- Henry, his sketch of Simmons, the Murderer, ii. 81

Anstey, Christopher, 'Comforts of Bath,' i. 333-49

Arnold, General, i. 173

Atkinson, Christopher, i. 143-4

Auckland, Lord Eden, i. 173

Austria, Emperor of, ii. 281

Austria, Crown Prince of, ii. 281

Banco to the Knave (Gillray), i. 106

Banks, Sir Joseph, i. 192

Bannister, the Comedian, a Collector, i. 70; ii. 248

-- John, the Comedian, an Art Student, i. 53-4

Barrymore, Lord, i. 58, 161-2, 303

Bate, Dudley, of the _Morning Post_, i. 159

Bates, William, B.A., 'Sketch of Rowlandson's Works,' 'Essay on George Cruikshank,' ii. 379

Bedford, Duke of, i. 359

Bell, Dr., ii. 216

Beresford, James, ii. 178

Billington, Mrs., i. 158

'Black Dick' (Lord Howe), i. 199

'Blackmantle,' Bernard (pseudo), i. 43; ii. 375, 378-9

Blair, Doctor Hugh, i. 198

Blucher, Prince von, ii. 278-9, 280-1, 293-5

'Book for a Rainy Day,' J. T. Smith, i. 70

Borowloski, Count, 'The Polish Dwarf,' i. 186

Bossy, Doctor, ii. 5

Boswell, James, i. 193-8

Boswell's 'Tour to the Hebrides,' i. 84, 193-8

Buonaparte, the Emperor Napoleon, ii. 42-3, 45, 47, 52, 54, 61, 82-3, 93-102, 130, 159, 162-3, 187, 203-4, 255, 258-64, 271-2, 276-82, 289, 291-3

-- Joseph, King of Spain, ii. 95-6, 98-101

-- Louis, King of Holland, ii. 97, 258-9

Buonaparte's Generals, ii. 291

Brightelmstone in 1789, i. 277

Britannia, 117, 136, 141-2, 247; ii. 6

Buckingham, Marquis of, i. 243

Bullock, Proprietor of 'Bullock's London Museum,' ii. 309

Bunbury, Henry, the Caricaturist, i. 61, 78-80, 369

-- the Caricaturist (illustrated biographical sketch of his life by Joseph Grego), i. 3

-- Henry, Caricaturist (Gambado's 'Annals of Horsemanship and Academy for Grown Horsemen'), i. 352-3; ii. 101-15, 217, 221-3

Burdett, Sir Francis, i. 359; ii. 74, 181-2, 184, 365

Burke, Hon. Edmund, i. 112, 118-19, 220, 245, 248, 274, 289; ii. 13

Burton, Alfred, 'Adventures of Johnny Newcome in the Navy,' ii. 363-4

Bute, Lord, i. 141

Butler, S., ii. 174, 198

Camden, Lord, i. 244

Canning, George, verses on 'All the Talents,' ii. 69

Canning, George, ii. 166

Carmarthen, Marquis of, i. 244, 248

Cartright, Major John, i. 121

Castlereagh, Lord, ii. 166

Catalini, Madame, ii. 165

Catharine, Empress of Russia, i. 290

Chambers, Sir William (architect of Somerset House), ii. 217

Charles the Fourth, King of Spain, i. 290, 292; ii. 94

Charlotte, Queen, i. 110, 199-210, 220, 228, 230, 252, 290

Chatham, Lord, i. 244

-- General, ii. 164, 166

Chattelier, Miss (Rowlandson's aunt), i. 52, 63-4

Chiffney (jockey to the Prince of Wales), i. 207

Clarke, Mrs. Mary Anne, ii. 135-64, 166, 181

-- Scandal, The, i. 28; ii. 135-64, 181

Clavering, General, ii. 143

Coleraine, Lord, i. 180, 220, 229. (_See_ Hanger)

Collections of Rowlandson's drawings, i. 5. Appendix

Collings, the Caricaturist, i. 82-4, 191, 193

Combe, William, ii. 247, 268, 317-55, 359-62, 271-2

-- -- (author): 'The Three Tours of Doctor Syntax,' ii. 176, 247-52, 266-7, 269-70, 367, 373, 375 'The Dance of Death,' ii. 317-15 'The Dance of Life,' ii. 359-62 'The History of Johnny Quæ Genus,' ii. 371-2

Corbett, Thomas, High Bailiff for Westminster, ii. 140, 153-4

Cornwall, Views in, ii. 56

Cross Reading (Whiteford's), i. 84

Cruikshank, George, caricaturist, i. 16-19

Cumberland, Duke of, ii. 225

Curtis, Commodore, ii. 163-4

Davy, Sir Humphrey, ii. 366

Derby, Lord, i. 359

Devonshire, Duchess of, i. 124, 126-9, 131-2, 135, 141-2, 152, 158; ii. 59

Didelot, dancer, i. 283

Don Carlos, ii. 94

Duncannon, Lady, i. 135, 141, 158

Dundas (Lord Melville), i. 121, 134, 243-4, 246; ii. 49-51, 60, 136

Dundas, Sir David, ii. 137

Dunthorne, James, i. 226-7, 314

Elliot, Right Hon. Hugh, English Minister at Dresden, ii. 311

Engelbach, Lewis, 'Letters from Italy, or Naples and the Campagna Felice,' ii. 267, 301-8

English Caricaturists, i. 2

'English Spy, The,' by 'Bernard Blackmantle,' i. 43

Erskine, Lord, i. 112, 359

'Farquhar,' Ferdinand (pseudo), 'Relics of a Saint,' ii. 317

Ferdinand of Spain, ii. 93

Fielding's 'Tom Jones,' ii. 55-6

Fitzgerald, Mr., i. 161

Fitzherbert, Mrs., i. 170, 220, 226, 248, 276

Fox, Hon. Charles James, ii. 49, 58-61, 109, 112-13, 116-17, 119, 123-7, 129, 131-5, 138-43, 154, 221, 231-2, 245, 248, 270, 359

Fox, General, i. 117

Frederick the Great, i. 182-3

French Ambassador, The, i. 147

Gambado, Geoffrey (pseudo Henry Bunbury), 'Academy for Grown Horsemen,' i. 352-3

-- -- 'Annals of Horsemanship,' i. 352; ii. 102-15

George the Third, i. 115, 119, 140-1, 182-3, 199-210, 220, 228-9, 248, 251-2, 290, 360; ii. 6, 59, 82, 196

Gillray, the Caricaturist (his life, works, and times, by Joseph Grego), i. 3-4, 54, 106, 143, 229, 242, 328; ii. 197, 223

Gloucester, Duke of, i. 328

Goldsmith, Oliver, 'The Vicar of Wakefield,' ii. 356-9, 375

Gordon, Duchess of, i. 126, 152

Grafton, Duke of, i. 244, 246-8

Grattan, i. 250, 362

Grego, Joseph: 'An Illustrated Biographical Sketch of Bunbury, the Caricaturist,' i. 3 'The Works of James Gillray, with the Story of his Life and Times,'