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ROWLANDSON THE CARICATURIST

SECOND VOLUME

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

A SELECTION FROM HIS WORKS

WITH ANECDOTAL DESCRIPTIONS OF HIS FAMOUS CARICATURES

AND

A Sketch of his Life, Times, and Contemporaries

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

WITH ABOUT FOUR HUNDRED ILLUSTRATIONS

IN TWO VOLUMES—VOL. II.

London

CHATTO AND WINDUS, PICCADILLY
1880

[The right of translation is reserved]

CONTENTS
OF
THE SECOND VOLUME.

(1800–1825.)
1800.
	PAGE
'Le Brun Travestied, or Caricatures of the Passions'—[Dr. Botherum the Mountebank]—Humbugging—Hocus-pocus,or Searching for the Philosopher's Stone—Hogarthian Novelist—Britannia'sProtection, or Loyalty Triumphant—A Silly—A Sulky—Beef à la Mode—Collar'd Pork—ThePleasures of Margate—[Summer Amusements, or a Game at Bowls]—Cockney Outings—Beautiesof Sterne: 'The Sentimental Journey'—Series of 'Attributes'—'Country Characters'—'MatrimonialComforts'—[Preparations for the Academy; Old Nollekens and his Venus]—'Remarks ona Tour to North and South Wales in the year 1797'	[1]
1801.
A Money Scrivener—[A Counsellor]—The Union—[A Jew Broker]—[The Brilliants]—Undertakers Regaling—[Symptomsof Sanctity]—Single Combat in Moorfields, or Magnanimous Paul O!Challenging All O!—The Emperor Paul of Russia, a Mad Autocrat—Series of 'Prayers' and'Journals'—The Union Head-dress—An Old Member on his Way to the House of Commons—Minorworks—Subjects after the designs of G. M. Woodward	[22]
1802.
Series of 'Journals'—Special Pleaders—La Fille mal Gardé, or Jack in the Box—[A Lady in Limbo,or Jew Bail Rejected]—[Slyboots]—A Snip in a Rage—[The Corporal in Good Quarters]—Sorrow'sDry, or a Cure for the Heart-ache—Hunt the Slipper; Picnic Revels—Who's Mistress Now?—'CompendiousTreatise on Modern Education'—'Bardic Museum'	[35]
1803.
A Catamaran—Billiards—A Diver—John Bull Listening to the Quarrels of State Affairs—Flags ofTruth and Lies—Minor subjects	[42]
1804.
[A French Ordinary]—Volunteering—The Imperial Coronation—Theatrical Leapfrog—Melpomene inthe Dumps—Death of Madame République—A New French Phantasmagoria—The Eight Stagesof Man's Schooling—Letter from the Caricaturist to Heath, the engraver	[44]
1805.
Quarterly Duns, or Clamorous Tax-gatherers—The famous Coalheaver, Black Charley—The ModernHercules Cleansing the Augean Stable—A Scotch Sarcophagus—John Bull's Turnpike Gate—TheScotch Ostrich Seeking Cover—Recovery of a Dormant Title—Antiquarians à la Grecque—JohnBull at the Italian Opera—Napoleon Buonaparte in a Fever on Receiving the ExtraordinaryGazette of Nelson's Victory over the Combined Fleets—[A Boarding School]—Illustrations toFielding's 'Tom Jones'—Illustrations to Smollett's 'Peregrine Pickle'—Views in Cornwall,Devon, Dorset, &c.	[49]
1806.
'The Sorrows of Werter'—A Cake in Danger—Falstaff and his Followers Vindicating the PropertyTax—A Maiden Aunt Smelling Fire—Recruiting on a Broad-Bottom'd Principle—Daniel Lambert,the Wonderful Great Pumpkin of Little Britain—A Diving Machine on a New Construction—TheAcquittal—Experiments at Dover, or Master Charley's Magic Lantern—[Butterfly-Hunting]—Anythingwill do for an Officer—Interior of St. Brewer's Church—[A Prize Fight]	[57]
1807.
[Miseries of London: A Street Blockade]—The Captain's Account-current of Charge and Discharge—AtHome and Abroad—Abroad and at Home—Mrs. Showell and Gen. Guise's Collection ofPictures at Oxford—[The Enraged Vicar]—[All the Talents]—A Henpeck'd Husband—JohnRosedale, Mariner, Exhibitor at the Hall of Greenwich Hospital—The Pilgrims and the Peas—SongHeadings—[Monastic Fare]—[The Holy Friar]—'I Smell a Rat,' or a Rogue in Grain—TheOld Man of the Sea and Sindbad the Sailor—A White Sergeant giving the Word of Command—MiseriesPersonal—More Scotchmen, or Johnny Maccree Opening his New Budget—[A View onthe Banks of the Thames]—The Double Disaster, or the New Cure for Love—Miseries of theCountry—A Mistake at Newmarket, or Sport and Piety—[Englishman at Paris]—Symptoms ofRestiveness—[A Calf's Pluck]—[Rusty Bacon]—A Tour to the Lakes—Thomas Simmons, theMurderer—Directions to Footmen—John Bull Making Observations on the Coast—The Dog andthe Devil—More Miseries—Illustrations to 'The Pleasures of Human Life'	[64]
1808.
Scenes at Brighton—[Miseries of High Life]—The Green Dragon—Soldiers on a March—The Consultation,or Last Hope—Volunteer Wit—The Anatomy of Melancholy—[The Mother's Hope]—TheSweet Little Girl that I Love—Odd Fellows from Downing Street Complaining to John Bull—[ASnug Cabin, or Port Admiral]—Accommodation—The Welsh Sailor's Mistake—WonderfullyMended—Breaking Cover—Get Money—[Doctor Gallipot Placing his Fortune at the Feet of hisMistress]—Rum Characters in a Shrubbery—Rowlandson's Caricatures against Buonaparte:The Corsican Tiger; Billingsgate at Bayonne; The Corsican Spider in his Web; TheCorsican Nurse Soothing the Infants of Spain; The Beast as Described in Revelations; Fromthe Desk to the Throne; King Joe's Retreat from Madrid; King Joe on his Spanish Donkey; ASpanish Passport to France; The Political Butcher; The Fox and the Grapes; Prophecy Explained;Napoleon the Little in a Rage with his Great French Eagle; A Hard Passage, orBoney Playing Base on the Continent; King Joe and Co. making the most of their time previousto quitting Madrid; Nap and his Partner Joe; Nap and his Friends in their Glory; John Bullarming the Spaniards; Junot disgorging his Booty; The Progress of the Emperor Napoleon—Illustrationsto 'An Academy for Grown Horsemen' and 'Annals of Horsemanship,' communicatedby Geoffrey Gambado, Esq.—'The Caricature Magazine, or Hudibrastic Mirror'—'ChesterfieldTravestie, or School for Modern Manners'—[Behaviour at Table]—'A Lecture on Heads,' byG. A. Stevens—Plates to 'The Miseries of Human Life'—'The Microcosm of London, or Londonin Miniature'—'An Essay on the Art of Ingeniously Tormenting'	[84]
1809.
The Head of the Family in Good Humour—The Old Woman's Complaint, or the Greek Alphabet—Launchinga Frigate—[A Mad Dog in a Coffee House]—Disappointed Epicures—[A Mad Dog in aDining Room]—The Comforts of Matrimony—The Miseries of Wedlock—['Oh! you're a Devil.Get along, do!'] Rowlandson's Caricatures upon the Delicate Investigation, or theClarke Scandal: Particulars of the Case; The Parliamentary Examination; The PrincipalPersonages Concerned; Mrs. Clarke's Memoirs; 'The Rival Princes'; 'Tegg's Complete Collectionof Caricatures relative to Mrs. Clarke, and the Circumstances arising from the Investigationof the Conduct of His Royal Highness the Duke of York before the House of Commons,1809'; Dissolution of Parliament, or the Industrious Mrs. Clarke Winding up her Accounts;Mrs. Clarke's Levee; Days of Prosperity in Gloucester Place; All for Love: a Scene at Weymouth;An Unexpected Meeting; The Bishop and his Clarke; A Pilgrimage from Surrey toGloucester Place; The York Magician; A Parliamentary Toast; Chelsea Parade; The Road toPreferment; [The York March;] The Triumvirate of Gloucester Place; A Scene from theTragedy of 'Cato'; Yorkshire Hieroglyphics, pl. 182; The Burning Shame; The Statue to be Disposedof; A General Discharge; The Champion of Oakhampton; The Parson and the Clarke;Samson Asleep on the Lap of Delilah; The Resignation; The Prodigal Son; Mrs. Clarke's LastEffort; The York Dilly; Doctor O'Meara's Return to his Family; Mrs. Clarke's Farewell to herAudience; Original Plan for a Popular Monument to be Erected in Gloucester Place; A YorkAddress to the Whale; The Flower of the City; The Modern Babel; The Sick Lion and theAsses; Burning the Books; A Piece-Offering; The Quaker and the Clarke; John Bull and theGenius of Corruption—Boney's Broken Bridge—Hell Broke Loose—The Tables are Turned—Moreof the Clarke—The Plot Thickens—Amusement for the Recess—The Bill of Wright's—Wonders,Wonders, Wonders!—The Rising Sun, or a View of the Continent—The Pope's Excommunicationof Buonaparte—The Walcheren Expedition—Song by Commodore Curtis—ADesign for a Monument to be Erected in Commemoration of the Glorious and Never-to-be-forgottenGrand Expedition, so ably planned and executed in the year 1809—General Cheathem'sMarvellous Return from his Exhibition of Fireworks—Plan for a General Reform—This is theHouse that Jack Built—A Lump of Impertinence—A Lump of Innocence—Preparations for theJubilee, or Theatricals Extraordinary—A Bill of Fare for Bond Street Epicures—The Boxes—APeep at the Gas Lights in Pall Mall—Joint Stock Street—The 'Bull and Mouth'—A Glee—Rowlandson's'Sketches from Nature'—Sterne's 'Sentimental Journey'—Butler's 'Hudibras'—'SurprisingAdventures of the Renowned Baron Munchausen'—'The Beauties of Sterne'—'PoeticalMagazine'—'The Schoolmaster's Tour' (Dr. Syntax)—[The Mansion House Monitor]—'Annals ofSporting,' by Calib Quizzem—'Trial of the Duke of York'—'Advice to Sportsmen' from the notes ofMarmaduke Markwell—'The Pleasures of Human Life,' by Hilari Benevolus & Co.—Illustrations toSmollett's Miscellaneous Works—'Beauties of Tom Brown'—Views in Cornwall, &c.—'Scandal;Investigation of the Charges brought against H.R.H. the Duke of York, by G. L. Wardle, Esq.,M.P. for Devon, with the evidence and remarks of the Members'	[130]
1810.
Winding up the Medical Report of the Walcheren Expedition—Libel-Hunters on the Look-out, or DailyExaminers of the Liberty of the Press—[A New Tap Wanted]—The Boroughmongers Strangled inthe Tower—Views of the Colleges of Oxford and Cambridge—A Bait for Kiddies on the NorthRoad—[Kissing for Love]—Easterly Winds—Three Weeks after Marriage, or the Great LittleEmperor Playing at Bo-peep—A Bonnet Shop—Peter Plumb's Diary—A Table d'Hôte, or FrenchOrdinary in Paris—Paris Diligence—Boxing Match between Dutch Sam and Medley—SmugglingOut, or Starting for Gretna Green—Smuggling In, or a College Trick—Procession of the CodCompany from St. Giles's to Billingsgate—Rigging out a Smuggler—Dramatic Demireps at theirMorning Rehearsal—Sports of a Country Fair—[Spitfires]—An Old Ewe Dressed Lamb Fashion—DropsyCourting Consumption—Kitchen Stuff—[A Hit at Backgammon]—Medical Despatch—BathRaces—[Doctor Drainbarrel]—After Sweet Meat comes Sour Sauce—The Harmonic Society—Signof the Four Alls—Signs—The Rabbit Merchant—A Sale of English Beauties in the EastIndies—A Parody on Milton—Cries of London	[182]
1811.
College Pranks—A Sleepy Congregation—The Gig Shop—[Pigeon-Hole]—A French Dentist—Bacon-facedFellows of Brazenose Broke Loose—She Stoops to Conquer—The Anatomist—Sailors onHorseback—Pastime in Portugal—The Last Drop—Boney the Second, or the Little BaboonCreated to Devour French Monkeys—A Picture of Misery—Puss in Boots, or General Junot takenby Surprise—Nursing the Spawn of a Tyrant—The Enraged Son of Mars and the Timid Tonsor—RuralSports: A Cat in a Bowl—[A Dog Fight]—Touch for Touch—The Bassoon, with a FrenchHorn Accompaniment—Easter Monday—[Rural Sports]—[The Huntsman Rising]—[The GamesterGoing to Bed]—Love Laughs at Locksmiths—[Masquerading]—Accommodation Ladder—Lookingat the Comet—Life and Death of the Racehorse—A Milling Match between Cribb and Molineaux—[Smock-Racing]—AGame at Quoits—How to Show off a well-shaped Leg—Twelfth Night Characters—CricketMatch Extraordinary—Minor Subjects—Six Classes of the Horse—Distillers—DinnersDressed in the Neatest Manner—A Trip to Gretna Green—Balloon-Hunting—A BelvoirLeap—A Man of Feeling—Bel and the Dragon—A Milk-sop—Royal Academy, Somerset House—Travellingin France—[Exhibition Starecase], Somerset House—[The Manager's Last Kick]—[Preparingto Start]—Awkward Squads Studying the Graces—Hiring a Servant—Anglers of 1811—[Preparingfor the Race]—Patience in a Punt—A Templar at His Studies—A Barber's Shop—ModernAntiques—'Munchausen at Walcheren'—'Chesterfield Burlesqued'	[199]
1812.
Duke of Cumberland—Lord Petersham—Lord Pomfret—Wet under Foot—Plucking a Spooney—Catchingan Elephant—Description of a Boxing Match between Ward and Quirk—A SpanishCloak—Fast Day—Sea Stores—Land Stores—The Chamber of Genius—[Italian Picture-DealersHumbugging my Lord Anglaise]—The Dog Days—[A Brace of Blackguards]—[Racing]—BroadGrins—Watermen—A Seaman's Wife's Reckoning—Setting out for Margate—Refinement ofLanguage—Bitter Fare—[Raising the Wind]—Christmas Gambols—The Successful Fortune-Hunter—HackneyAssembly—The Learned Scotchman—Preaching to some Purpose—A Visit tothe Doctor—Puff Paste—Mock Turtle—Off She Goes—A Cat in Pattens—'Petticoat Loose; aFragmentary Tale of the Castle'—Series of 'Views in Cornwall'—'Tour of Doctor Syntax,in Search of the Picturesque'—'Second Tour of Doctor Syntax, in Search of Consolation'—'ThirdTour of Doctor Syntax, in Search of a Wife'	[225]
1813.
[Bachelor's Fare, or Bread and Cheese and Kisses]—The Last Gasp, or Toadstools Mistaken for Mushrooms—SummerAmusements at Margate—Humours of Houndsditch—[Unloading a Waggon]—Nonebut the Brave Deserve the Fair—A Doleful Disaster, or Miss Tubby Tatarmin's WigCaught Fire—The Norwich Bull Feast—[A Long Pull, a Strong Pull, and a Pull all together]—TheCorsican Toad under a Harrow—The Execution of two celebrated Enemies of Old England, andtheir Dying Speeches, November 5, 1813—A Dutch Nightmare—Plump to the Devil we boldlyKicked both Nap and his Partner Joe—The Corsican Munchausen—Funking the Corsican—TheMock Phœnix—Friends and Foes, up he Goes!—Political Chemists and German Retorts—Napoléonle Grand—Mock Auction, or Boney Selling Stolen Goods—How to Vault into theSaddle—Witches in a Hayloft—The Quakers and the Commissioners of Excise—[Doctor Syntaxin the Middle of a Political Squabble]—A-going! A-going!—Giving up the Ghost—Ghost of myDeparted Husband—'Letters from Italy,' by Lewis Engelbach—'Poetical Sketches of Scarborough,'illustrated by Rowlandson from designs by J. Green—'Dr. Syntax's Tour,' republished	[253]
1814.
The Double Humbug—Death and Buonaparte—Transparency exhibited at Ackermann's on thevictory of Leipzig—[Madame Véry], Restaurateur, Palais Royal, Paris—[La Belle Limonadière] auCafé des Milles Colonnes—Quarter Day, or Clearing the Premises—Kicking up a Breeze, orBarrow-women Basting a Beadle—[The Progress of Gallantry]—[A Tailor's Wedding]—HeadRunner of Runaways from Leipzig Fair—[Crimping a Quaker]—The Devil's Darling—Blucher theBrave Extorting the Groan of Abdication from the Corsican Bloodhound—Coming in at the Deathof the Corsican Fox—Bloody Boney, the Carcase Butcher, left off Trade and Retiring to ScarecrowIsland—The Rogue's March—The Affectionate Farewell, or Kick for Kick—A DelicateFinish to a French Usurper—Nap Dreading his Doleful Doom, or his Grand Entry into the Isle ofElba—The Tyrant of the Continent is Fallen; Europe is Free; England Rejoices—Boney TurnedMoralist—What I was! what I am! what I ought to be!—[Peace and Plenty]—Macassar Oil—APleasant Way of Making Hay—[Portsmouth Point]—The Four Seasons of Love—JoannaSouthcott, the Prophetess—Buck-Hunting	[271]
1815.
Female Politicians—Breaking up the Blue Stocking Club—Defrauding the Customs—Hodge's Explanationof a Hundred Magistrates—Tailors Drinking the Tunbridge Waters—Flight of Buonapartefrom Hell Bay—Hell Hounds Rallying round the Idol of France—Vive le Roi! Vive l'Empereur!Vive le Diable!—Scene in a New Pantomime to be Performed at the Theatre Royal, Paris—TheCorsican and his Blood Hounds at the Window of the Tuileries—Ackermann's Transparency onthe Victory of Waterloo—Boney's Trial, Sentence, and Dying Speech, or Europe's InjuriesAvenged—Ackermann's Transparency on the General Peace, Nov. 27, 1815—The Cockney Hunt—MeasuringSubstitutes for the Army of Reserve—A Journeyman Tailor—[An Eating House]—Neighbours—Banditti—Virtuein Danger—Slap Bang Shop—Accidents will Happen—Sympathy—Despatch,or Jack Preparing for Sea—Deadly-Lively—Illustrations to 'The Military Adventuresof Johnny Newcome'—Illustrations to 'The Grand Master, or Adventures of Qui Hi inHindostan'—[Hindoo Incantations]—Illustrations to 'Naples and the Campagna Felice,' in a seriesof letters by Lewis Engelbach—[The Letter-Writer]—Don Lugi's Ball	[289]
1816.
Exhibition at Bullock's Museum of Buonaparte's Carriage taken at Waterloo—The Attempt to Washthe Blackamoor White—[Lady Hamilton]—'Relics of a Saint,' by Ferdinand Farquhar—Rowlandson's'World in Miniature'—Illustrations to 'The English Dance of Death'	[309]
1817.
Illustrations to Goldsmith's ['Vicar of Wakefield']—Illustrations to 'The Dance of Life'—'GrotesqueDrawing Book,' &c.	[356]
1818.
Wild Irish, or Paddy from Cork, with his Coat Buttoned Behind—Doncaster Fair, or the IndustriousYorkshire Bites—Illustrations to 'The Adventures of Johnny Newcome in the Navy'	[363]
1819.
A Rough Sketch of the Times, as delineated by Sir Francis Burdett—'Who Killed Cock Robin?' (chap-bookon the Manchester Massacre)—Female Intrepidity (chap-book)	[365]
1820.
Chemical Lectures (Sir Humphrey Davy)—Rowlandson's 'Characteristic Sketches of the LowerClasses'—'The Second Tour of Doctor Syntax'	[366]
1821.
A Smoky House and a Scolding Wife—Tricks of the Turf, or Settling how to Lose a Race—Illustrationsto 'Journal of Sentimental Travels in the Southern Provinces of France'—'Le Don QuichotteRomantique, ou voyage du Docteur Syntaxe'	[368]
1822.
Illustrations to 'The History of Johnny Quæ Genus'—Rowlandson's 'Sketches from Nature'—'ThirdTour of Doctor Syntax, in Search of a Wife'—'Die Reise des Doktor Syntax'—Crimes of theClergy	[371]
1823.
Not at Home, or the Disappointed Dinner-hunter—An Old Poacher Caught in a Snare—The Chance-sellerof the Exchequer putting an Extinguisher on Lotteries—Westmacott's 'Spirit of the PublicJournals for 1823'—[The Toothache, or Torment and Torture]	[374]
1825.
'Bernard Blackmantle' (C. M. Westmacott), 'Spirit of the Public Journals for the year 1824'—'TheEnglish Spy,' by Bernard Blackmantle	[377]
1831.
Posthumous Publication—'The Humourist, a Companion for the Christmas Fireside,' by W. H.Harrison, 'with fifty engravings and numerous vignettes from designs by the late ThomasRowlandson'	[380]
SUMMARIES.
Chronological summary of subjects, social and political, published caricatures, plates, and book illustrations,engraved by or after Thomas Rowlandson, 1774 to 1831	[387]
Addendum to the chronological summary of Rowlandson'spublished caricatures	[406]
APPENDIX.
Additional Sources of Reference upon Rowlandson's Caricatures:
Catalogue of pictorial satires in the Print Department of the British Museum, from the notes ofEdward Hawkins, prepared by Frederic George Stephens	[411]
'Centuria Librorum Absconditorum (Pisanus Fraxi)'	[412]
Original drawings by Thomas Rowlandson in the Department of Prints and Drawings, BritishMuseum	[412]
In the Royal Collection, Windsor Castle	[413]
In the collection of water-colour drawings of the English school, Science and Art Department,South Kensington Museum	[413]
Dyce collection of water-colour drawings of the English school, Science and Art Department,South Kensington Museum	[413]
Private collections of original drawings by Thomas Rowlandson	[415]
INDICES.
Index of names, persons, &c.	[435]
Index of titles, subjects, published caricatures, illustrations, &c.	[440]

ROWLANDSON THE CARICATURIST.

1800.

January 1, 1800. [A French Ordinary.] Published by S. W. Fores. (See [January 2, 1804].)

January 20–3, 1800. Washing Trotters. Published by Hixon, 355 Exeter Change, Strand.—As the title indicates, an etching of a curious couple engaged in the domestic operation of tubbing.

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

January 20, 1800. Attention, No. 2. Woodward del., Rowlandson sculp. Published by R. Ackermann.

January 20, 1800. Hatred or Jealousy, No. 3. Woodward del., Rowlandson sculp. Published by R. Ackermann.

January 20, 1800. Admiration with Astonishment, No. 4. Woodward del., Rowlandson sculp. Published by R. Ackermann.

January 20, 1800. Veneration, No. 5. Woodward del., Rowlandson sculp. Published by R. Ackermann.

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

1800. Desire, No. 7. Woodward del. Etched by Rowlandson.—'Female attraction is frequently the cause of this passion, as represented in the delineation of the Old Beau and the Sleeping Lady.' A fair young female, fashionably attired, has dropped asleep in an inviting attitude, leaning on a cushion, an old buck, spyglass in hand, is ogling the unconscious beauty.

January 21, 1800. Joy with Tranquillity, No. 8. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

January 21, 1800. Laughter, No. 9. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

January 21, 1800. Acute Pain (2nd plate), No. 19. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

January 21, 1800. Simple Bodily Pain, No. 11. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

January 21, 1800. Weeping, No. 13. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

January 21, 1800. Compassion, No. 14. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

January 21, 1800. Horror, No. 16. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

January 21, 1800. Terror, No. 17. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

January 21, 1800. Anger, No. 18. G. M. Woodward del., Rowlandson fec. Published by R. Ackermann.

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

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

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

DR. BOTHERUM, THE MOUNTEBANK.

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

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

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

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

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

April 1, 1800. A Ghost in the Wine Cellar. Published by T. Rowlandson, 1 James's Street, Adelphi.

April, 1800. Caricature Medallions for Screens. Published by R. Ackermann, Strand.

April 20, 1800. Hearts for the year 1800. Woodward inv., Rowlandson sculp. Published by R. Ackermann, Strand.

May 1, 1800. Cash. Published by R. Ackermann.

May 1, 1800. Bills of Exchange. Published by R. Ackermann.

May 12, 1800. Melopoyn haranguing the prisoners in the Fleet. Hogarthian Novelist. Plate 5.

May 12, 1800. Captain Bowling introduced to Narcissa. Hogarthian Novelist. Plate 6.

May 20, 1800. A Skipping Academy. G. M. Woodward inv., Rowlandson sculp. Published by R. Ackermann, Strand.

June, 1800. Sketches at the Oratorio. G. M. Woodward inv., Rowlandson sculp.

June 4, 1800. Pictures of Prejudice. Designed by Woodward. Etched by Rowlandson. Published by R. Ackermann.

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

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

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

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

July 25, 1800. The Pleasures of Margate, in four compartments. Published by R. Ackermann.

Morning.—Breakfasting at Michiner's Grand Hotel.
Noon.—Dining at Michiner's Grand Hotel.
Evening.—A drive on the sands.
Night.—At the bazaars. Raffling for prizes, flirtation, &c.

August 20, 1800. Sailors Regaling. Published by T. Rowlandson, 1 James's Street, Adelphi.

1800. The Tuileries in Paris.—Original Drawing.

SUMMER AMUSEMENT, OR A GAME AT BOWLS.

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

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

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

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

August 30, 1800. Gratification of the Senses à la mode Française.—(Seeing, Tasting, Hearing, Smelling, Feeling.)

October 1. The Newspaper. G. M. Woodward invt., Rowlandson sculp. Published by R. Ackermann.

October 29, 1800. Grotesque borders for Rooms and Halls.—Published October 25 and 29, 1800, by R. Ackermann, 101 Strand. Woodward del., Rowlandson sculp.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lawyerorum very significantly closes the series of emblematical heads. The counsel is a hard-featured, sharp, close, shrewd, and long-headed looking individual, attired in his horsehair wig, and festooned around with the sweets of his profession—Affidavits, Subpœnæ, Perjuries, Bankrupts enlarged, 'Wills made on the shortest notice,' Writs of Error, Clausum Friget, Bills of Costs, Declarations, Actions between John Doe and Richard Roe, Warrants for assaults, Habeas Corpus, Suits in Chancery, Lists of Informations, Quirks, Quibbles, Briefs, Title-deeds, Statutes at large, bags of causes, ponderous legal volumes; the emblemata are significantly supported by a well-filled brief bag, plethoric with 'cash received on clients' accounts, not paid over.'

1800. A Peep into Bethlehem.

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

Vide Melancholy Catastrophe, by Peter Fig, Esq.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1800. Matrimonial Comforts. No. 2, Late Hours. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

1800. Matrimonial Comforts. No. 3, An Anonymous Letter. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

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

1800. Matrimonial Comforts. No. 5, Killing with Kindness. Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.—The victim to ill-directed matrimonial attentions is a stout countrified old gentleman; he is seated in his arm-chair, very much at the mercy of two fair and youthful tormentors, whose exertions on his behalf are probably not disinterested. The wife, a very stylish damsel, seemingly young enough to be the daughter of her embarrassed spouse, is leaning on his chair and pressing him to partake of a dish of fruit, and insisting, 'You must have some apricots, my love!' while her sister, patting the husband affectionately on the shoulder, is forcing a bunch of grapes into his mouth, which he has incautiously opened, to express his dissent: 'Just take these grapes, brother-in-law, you never eat finer!' The old gentleman, who shrewdly values this devotion at its worth, is crying: 'I wo'nt eat anything more, I tell you—I shall be choked—got an eye to the estate, I suppose!'

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

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

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

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

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

PREPARATIONS FOR THE ACADEMY. OLD JOSEPH NOLLEKENS AND HIS VENUS.

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

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

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

1800. Rainbow Tavern, in Fleet Street, in 1800.

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

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

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

Plates.

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

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

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

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

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

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

1801.

January 1, 1801. The Epicure. Published by S. W. Fores. (See [1788].)

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

January 1, 1801. [A Counsellor.] Published by S. W. Fores, 50 Piccadilly.

A COUNSELLOR.

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

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

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

A JEW BROKER.

January 15, 1801. [The Brilliants], (21¼ × 16.) Published by R. Ackermann, 101 Strand.—We are not prepared with any special particulars as to the foundation of this convivial club; but we may record a solitary gratuitous observation, that in spite of the melancholy and frequent carpings, on puritanical grounds, which are now in fashion, over the growing degeneracy of the times in which we live—the sanctimonious being given to assert that each succeeding generation inveterately surpasses the excesses of its predecessors—in the instances of drinking and gaming our ancestors went to extremes beside which our modern dissipations, in their wildest excesses, fall into paltry insignificance. The clubs of the past, in the item of iniquity, although the institution was in its infancy, surpassed those of the present day in such a degree that our 'fastest' haunts appear prudish by comparison.

THE BRILLIANTS.

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

'Rules to be Observed in this Society.

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

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

SYMPTOMS OF SANCTITY.

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

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

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

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

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

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

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

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

February 10, 1801. The Epicure's Prayer. Designed by Woodward. Published by T. Rowlandson.

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

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

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

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

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

July 30, 1801. The Quack Doctor's Prayer is addressed, over a chest of patent quack medicines, to the illustrious shade of the renowned Doctor Rock. The empiric candidly confesses that his miraculous Cure-all-able Vegetable Drops, Never Infailibus Infallibus, supposed to issue from the laboratory of Esculapius himself, are nothing more than a decoction of beetroot, lump-sugar, spring-water, cognac brandy, and Hollands gin. The Quack Doctor prays that his carriages and equipages, his town and country residences, and all other good things of life, may be continued to reward his impudent charlatanism.

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

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

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

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

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

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

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

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

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

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

April 2, 1801. No. 1, Taste. Woodward del., Rowlandson sculp. Published by R. Ackermann.

April 2, 1801. No. 2, Fashion. Woodward del., Rowlandson sculp. Published by R. Ackermann.

April 2, 1801. No. 3, Elegance. Woodward del., Rowlandson sculp. Published by R. Ackermann.

April 2, 1801. No. 4, Fancy. Woodward del., Rowlandson sculp. Published by R. Ackermann.

May 1, 1801. Boot-Polishing. G. M. Woodward del., Rowlandson sculp. Published by R. Ackermann.

July 12, 1801. Light Summer Hat and Fashionable Walking-stick. Published by R. Ackermann.

July 20, 1801. The Toper's Mistake. G. M. Woodward inv. Published by R. Ackermann.

1801. Rag Fair. Published by R. Ackermann.

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

1801. Four subjects on a sheet.—Here's your potatoes, four full pounds for two pence! Light, your Honour, Coach unhired. Buy my roses, dainty sweet briar! Pray remember the blind. Designed and executed by T. Rowlandson. Republished 1811.

September 12, 1801. A Sailor Mistaken. G. M. Woodward. Published by R. Ackermann.

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

1802.

February 25, 1802. Friendly Accommodation. Woodward inv., Rowlandson sculp. Published by R. Ackermann.

March 1, 1802. The Monstrous Craws, or a New-Discovered Animal. Published by R. Ackermann.

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

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

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

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

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

June 10, 1802. How to Pluck a Goose. Etched by T. Rowlandson. Published by T. Williamson, 20 Strand.

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

July 1, 1802. Comfort in the Gout. (See [1785].) Republished by S. W. Fores, 50 Piccadilly.

A LADY IN LIMBO, OR JEW BAIL REJECTED.

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

SLYBOOTS.

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

July 1, 1802. Intrusion on Study, or the Painter Disturbed. (See [November 1785].) Republished by S. W. Fores.

July 1, 1802. Jockeyship. Published by S. W. Fores.

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

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

THE CORPORAL IN GOOD QUARTERS.

August 30, 1802. A Musical Family. Published by R. Ackermann.

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

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

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

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

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

November 20, 1802. Doctor Convex and Lady Concave. Published by R. Ackermann.

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

Men are but children of a larger growth.—Shakespeare.

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

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

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

1802. Salt Water. Published at 24 Lower Sackville Street.—A bathing scene.

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

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

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

1803.

February 1, 1803. Signiora Squallina.

February 1, 1803. Sweet Lullaby.

February 1, 1803. Queer Fish.

February 1, 1803. Recruits. (See [1811].)

March 1, 1803. A Catamaran, or an Old Maid's Nursery. Published by T. Rowlandson, 1 James Street.

March 1, 1803. Richmond Hill, after H. Bunbury. Published by R. Ackermann.

March 1, 1803. Billiards, after H. Bunbury. Published by R. Ackermann.

April 1, 1803. The Road to Ruin. Published by S. W. Fores.

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

April 12, 1803. Ducking a Scold.

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

June 21, 1803. [A Snug Cabin, or Port Admiral.] (See June 21, [1808].)

July 1, 1803. A Stage Coach.

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

1804.

January 1, 1804. Diana in the Straw, or a Treat for Quornites. Published by S. W. Fores.

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

A FRENCH ORDINARY.

June 8, 1804. Light Volunteers on a March. Published by R. Ackermann.

June 8, 1804. Light Infantry Volunteers on a March. Published by Ackermann.

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

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

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

Rowlandson the Caricaturist; a Selection from His Works. Vol. 2

ROWLANDSON THE CARICATURIST

CONTENTSOFTHE SECOND VOLUME.

ROWLANDSON THE CARICATURIST.

1800.

1801.

1802.

1803.

1804.

CONTENTS
OF
THE SECOND VOLUME.