Book IX. c. ii. Tom Jones rescues Mrs. Waters from the violence of

Northerton.

Book IX. c. iii. Battle of Upton; Tom Jones and the Landlord, Partridge

and Susan, Mrs. Waters and the Landlady.

Book XI. c. ii. Sophia's modesty shocked by a fall from her horse.

VOLUME III.

Book XIII. c. ii. Tom Jones refused admittance by the porter at the

door of an Irish peer.

Book XIII. c. ii. Jones and Sophia interrupted in a _tête-à-tête_ by

Lady Bellaston.

Book XIV. c. ii. Partridge interrupts Tom Jones in his protestations to

Lady Bellaston.

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

1791-93, 1795-96. _The Adventures of Peregrine Pickle; in which are

included Memoirs of a Lady of Quality. By T. Smollett, M.D. With plates

by Rowlandson._ Edinburgh and London (Longman): 1805.

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

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

1791. _Délices de la Grande-Bretagne._ Engraved and published by

William Birch, enamel painter, Hampstead Heath. Two illustrations by

Rowlandson.

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

January 1785.

_Market Day at Blandford, Dorsetshire._

1792.

_January 1792._ _St. James's--St. Giles's._ H. Wigstead, invt.

Published by T. Rowlandson, Strand; and republished (1794) by S. W.

Fores, 3 Piccadilly.--The parish of _St. James's_ is represented by two

modish frail nymphs, elegantly decked out in the Frenchified fashion

of the period; their profuse locks spread forth, frizzed and powdered,

in the style imported from Paris by Mrs. Fitzherbert; the refinement

of their appearance ill accords with a bowl of punch which they are

convivially sharing. The ruder precincts of _St. Giles's_ are pictured

in the persons of two coarse, overgrown females of the 'fishfag' and

'street ballad singing' order, swaggering with sufficient impudence to

set the universe at defiance.

_January 1792._ _Oddities._ Henry Wigstead, invt., January 1792.

Published by T. Rowlandson, Strand. Republished 1794, by S. W. Fores,

3 Piccadilly.--A group of caricatured heads, types of expression and

burlesqued peculiarities, in two prints, designed by Henry Wigstead,

and engraved and published by Thomas Rowlandson.

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

_February 22, 1792._ _Work for Doctors' Commons._ Published by T.

Rowlandson, Strand.--There is no evidence to prove this print directly

proceeds from the pencil of Rowlandson, but there are indications

of his style, both in the subject and in the execution; it is also

in points suggestive of the early style of Morland. A lady and a

captain--a pretty pair--are dallying on a sofa, while the superannuated

lawful spouse of the frivolous fair one is ensconced behind a screen,

standing on a chair, and surveying the situation over the top of this

ambuscade; his footman is watching by his side, impressed as a witness,

and is struck with horror at the spectacle of domestic faithlessness,

of which he is taking observations through a peephole made through the

screen for the purpose of spying.

From a MS. note to an impression which has come under the Editor's

notice it appears that the contemporary scandal relates to a certain

Mrs. Walsh and General Upton.

_March 1792._ _A Dutch Academy._ Published by T. Rowlandson, 52 Strand,

1792.--The caricature represents, as the title describes, the interior

of a drawing school in Holland; just such a one as may be found there

to this day. A corpulent _vrow_ is sitting as a model to the painters,

in an attitude more easy than graceful. The Mynheers are clustered

around, some of the students, most of whom are advanced in life, and

of clumsy, corpulently developed figures, are seated on tubs, others

are squatting on the floor, and nearly all are smoking. The Dutchmen,

who are of the conventional type--much as we find them pictured in the

veracious Knickerbocker's famous _History of New York_, closely encased

in buttoned-up jackets, and roomy nether garments--are plodding away

at their studies; some few are too interested to do anything beyond

indulging in a stolid contemplation of the charms of their material

Venus.

_April 1, 1792._ _A Lying-in Visit, or a Short-sighted Mistake._

Published by S. W. Fores.--There are various versions of this subject,

which it seems was originally suggested by Newton. Several of his

contemporaries have tried their hand on it. A small version of the

print is due to Rowlandson, and it evidently found favour in its day.

A purblind and antiquated spinster, decked out in the very height

of the fashion of the day--recalling the artist's suggestive _Old

Ewe dressed Lamb Fashion_--is supposed to have called on a visit of

congratulation to a young wife who has recently been deserving well

of her country, by increasing its population. An old footman, with a

powdered head, is bringing in a scuttle of coals; the gushing visitor,

who was prepared to go into promiscuous raptures in anticipation, is

advancing to embrace the scuttle, which she imperfectly distinguishes,

fulsomely exclaiming to the consternation of John Thomas, who is lost

in confusion:--'O you pretty creature! Bless the dear baby, how it

smiles! Give it to me, Nurse! It has exactly its Papa's nose and Mama's

eyes! Oh, it is a delightful little creature!'

_May 29, 1791-2._ _Six Stages of Marring a Face--dedicated with respect

to the Duke of Hamilton._ A companion to the _Six Stages of mending

a Face_.--Stage the first represents the prize fighter (in the days

when pugilistic exhibitions were specially given under the patronage

of noblemen such as the Duke of Hamilton), in all his muscular force,

stripped for the contest, his face undisfigured and manly, as left by

nature; in stage the second, one eye is closed; in stage the third he

is much disfigured; in the latter stages the shape is entirely beaten

out of his features, until the champion is left, in stage the sixth,

a hideous mass of bruises, cuts, and bleeding wounds, hammered out of

all resemblance to his former self--a spectacle sufficiently revolting

to act as an antidote to the morbid excitement and attractiveness of

the prize ring. It is worthy of remark that the artist must have drawn

this print, exposing the barbarity of the ring, from sheer conviction

founded on his own observations, and not from any squeamish distaste

for the sport; Rowlandson had enjoyed a wide experience of athletic

exercises, in which he was understood to excel, and attended numerous

pugilistic encounters, amateur and professional, in his time; his

pleasure in drawing well-built figures, with the play of muscle which

would be exhibited in the course of 'bouts at fisticuffs' such as he

had both the power and skill to delineate, proves that he had a decided

predilection for the science, apart from its reprehensible brutalities.

It further appears that the artist was somewhat of a boxer.

_May 29, 1791-2._ _Six Stages of Mending a Face. Dedicated with

respect to the Right Honorable Lady Archer._ Published by S. W. Fores,

3 Piccadilly.--This plate traces the progress of manufacturing a

beauty _à la mode_. The first stage introduces the fair one in a very

dilapidated condition, and the materials from which the lady is to be

reconstructed do not seem promising. A handkerchief is tied over her

head to remedy the scarcity of hair; one eye is absent, and the gums

are toothless. A handsome glass eye is being adjusted in _stage the

second_. _Stage the third_ represents the crowning of the shaven pate

with a luxuriant and fashionably dressed head of hair. An artificial

set of teeth are being placed in the lady's mouth in the next stage.

The lady now approaches an appearance of youth and beauty. In _stage

five_ she supplies the roses, hitherto absent from her cheeks, with

a hare's foot and rouge. _Stage six_ pictures the completed work,

a dashing and captivating belle, with fine eyes (not necessarily a

perfect pair it is true), flowing, profuse, and becoming locks of hair,

perfect teeth, blooming complexion, and a carriage of conscious grace

and coquetry.

_June, 1792._ _Ruins of the Pantheon--after the Fire which happened

January 14, 1792._ Sketched by Rowlandson and Wigstead. Published by T.

Rowlandson, Strand. _Pantheon._--'Persons who witnessed the progress of

this tremendous fire declare that the appearances exhibited through the

windows, the lofty scagliola pillars enveloped in flames and smoke, the

costly damask curtains waving from the rarefaction of the air, and the

superb chandeliers turning round from the same circumstance, together

with the successive crashing and falling in of different portions of

the building, furnished to their minds a more lively representation of

Pandemonium than the imagination alone can possibly supply. The effects

too of the intense frost which then prevailed, on the water poured from

the engines upon the blazing pile, are described as equally singular

and magnificent.' J. B. Papworth.

1792. _The Chairman's Terror: Leaving a Levée_, St. James's Palace.

Published by T. Rowlandson, 52 Strand.

[Illustration: LIEUTENANT BOWLING PLEADING THE CAUSE OF YOUNG ROY TO

HIS GRANDFATHER.]

_The Adventures of Roderick Random. Roderick Random is conducted by his

uncle Tom Bowling on a visit to his grandfather, the judge._--'After a

few minutes' pause we were admitted, and conducted to my grandfather's

chamber through a lane of my relations, who honoured me with very

significant looks as I passed along. When we came into the judge's

presence, my uncle, after two or three sea-bows, expressed himself in

this manner. "Your servant--your servant. What cheer father? what

cheer? I suppose you don't know me--mayhap you don't. My name is

Tom Bowling; and this here boy--you look as if you did not know him

neither--'tis like you mayn't. He's new rigged, i' faith; his cloth

don't shake in the wind so much as it wont to do. 'Tis my nephew, d'ye

see, Roderick Random--your own flesh and blood, old gentleman. Don't

lay astarn, you dog" (pulling me forward). My grandfather, who was laid

up with the gout, received his relation after his long absence with a

coldness of civility which was peculiar to him; told him he was glad

to see him, and desired him to sit down. "Thank ye, thank ye, sir, I

had as lief stand," said my uncle. "For my own part I desire nothing

of you; but if you have any conscience at all, do something for this

poor boy, who has been used at a very unchristian rate. Unchristian,

do you call it? I am sure the Moors in Barbary have more humanity than

to leave their little ones to want. I would fain know why my sister's

son is more neglected than that there fair-weather Jack" (pointing

to the young squire, who, with the rest of my cousins, had followed

us into the room). "Is not he as near akin to you as the other? Is

not he much handsomer, and better built than that great chucklehead?

Come, come--consider, old gentleman, you are going in a short time to

give an account of your evil actions. Remember the wrongs you did his

father, and make all the satisfaction in your power before it is too

late. The least thing you can do is to settle his father's portion on

him." The young ladies who thought themselves too much concerned to

contain themselves any longer, set up their throats altogether against

my protector, "Scurvy companion--saucy tarpaulin--rude, impertinent

fellow--did he think he was going to prescribe to grandpapa? His

sister's brat had been too well taken care of; grandpapa was too just

not to make a difference between an unnatural, rebellious son and his

dutiful loving children, who took his advice in all things"--and such

expressions were vented against him with great violence, until the

judge at length commanded silence.

[Illustration: THE PASSENGERS FROM THE WAGGON ARRIVING AT THE INN.]

_The Adventures of Roderick Random. Chap. XI._--Roderick Random, and

his companion Strap, having alighted from the waggon, are standing a

little back in the best room of the Inn, where the landlord, candle in

hand, is receiving the rest of the guests, who are entering from the

conveyance; Joey, the honest driver of the waggon, is standing behind

the obsequious Boniface. Roderick Random thus pursues his narrative:--

'Here I had an opportunity of viewing the passengers in order as they

entered. The first who appeared was a brisk airy girl about twenty

years old, with a silver laced hat on her head instead of a cap, a blue

stuff riding-suit trimmed with silver, very much tarnished, and a whip

in her hand. After her came limping an old man, with a worsted nightcap

buttoned under his chin, and a broad brimmed hat slouched over it, and

an old rusty blue cloak tied about his neck, under which appeared a

brown surtout that covered a threadbare coat and waistcoat, and, as we

afterwards discerned, a dirty flannel jacket. His eyes were hollow and

bleared, his face was shrivelled into a thousand wrinkles, his gums

were destitute of teeth, his nose sharp and drooping, his chin peaked

and prominent, so that when he mumped or spoke, they approached one

another like a pair of nutcrackers; he supported himself on an ivory

headed cane, and his whole figure was a just emblem of winter, famine,

and avarice. But how was I surprised when I beheld the formidable

captain in the shape of a little thin creature, about the age of forty,

with a long withered visage very much resembling that of a baboon,

through the upper part of which two little grey eyes peeped: he wore

his own hair in a queue that reached to his rump, which immoderate

length I suppose was the occasion of a baldness that appeared on the

crown of his head, when he deigned to take off his hat, which was very

much of the size and cock of Pistol's. Having laid aside his great

coat, I could not help admiring the extraordinary make of this man of

war: he was about five feet and three inches high, sixteen inches of

which went to his face and long scraggy neck; his thighs were about six

inches in length, his legs resembling spindles or drumsticks, two feet

and a half, and his body, which put me in mind of extension without

substance, engrossed the remainder, so that on the whole he appeared

like a spider or grasshopper erect, and was almost a _vox et præterea

nihil_. His dress consisted of a frock of what is called bear-skin,

the skirts of which were about half a foot long, an hussar waistcoat,

scarlet breeches reaching halfway down his thighs, worsted stockings

rolled up almost to his groin, and shoes with wooden heels at least two

inches high; he carried a sword very near as long as himself in one

hand, and with the other conducted his lady, who seemed to be a woman

of his own age, and still retained some remains of a handsome person;

but so ridiculously affected that, had I not been a novice in the

world, I might have easily perceived in her the deplorable vanity and

second-hand airs of a lady's woman.'

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

Piccadilly.

[Illustration: ON HER LAST LEGS.]

_November 5, 1792._ _English Travelling, or the First Stage from

Dover._ (See December, 1785.)

_November 5, 1792._ _French Travelling, or the First Stage from

London._ (See December, 1785.)

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

Piccadilly.

[Illustration: STUDIOUS GLUTTONS.]

_Adventures of Joseph Andrews and his friend, Mr. A. Adams._ By Henry

Fielding. Illustrated by Rowlandson, 8vo.

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

Fores, Piccadilly.

1792. _Philosophy run Mad, or a stupendous Monument of Human Wisdom._

_Signed G. L. S._--As this print exhibits various indications of

Rowlandson's handiwork, it has been thought advisable to include it

amongst the present selection. The plate represents the general upset

of affairs in France. On the wreck of a number of columns marked

_Humanity_, _Social Happiness_, _Security_, _Tranquillity_, _Domestic

Peace_, _Laws_, _Order_, _Religion_, _Urbanity_, &c., is balanced

the seat of the republic of France, or rather that of Paris. A Fury

yelling _ça ira_ represents _La République_; in her hand is a picture

of _Religious Indifference_ graphically set forth as an _auto da fè_

of Papish Bishops and Cardinals. _Plenty_ is represented by a Fury

extending her cornucopia of 'Assignats' to a group of hungry-looking

half-starved Frenchmen. _Peace_ is displayed firing a bomb marked

_Abolition of Offensive War_; the gun carriage is inscribed _Universal

Benevolence_; the Goddess of Order is blowing through a trumpet the

tidings, _Peace of Europe established_.

_Equality_ is travestied as an aristocrat kneeling in the dust, while

a half-naked sansculotte is treading on his neck and beating his head

with a club. _Liberty_ is shown as a Jacobin, trampling on the Law,

and holding the head of a Conventionalist on a dagger, to which the

rulers of the state are compelled to bow their obeisance. _Humanity_ is

parodied by a female monster holding up the heart of a martyr to the

new religion.

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

1792. _Cold Broth and Calamity._--This print has the reputation of

being an unusually successful example of the artist's humorous powers

of delineation, and the writer has seen several original designs on

the same subject by Rowlandson's hand; in some cases the drawings are

larger and more important in character than the etching of _Cold Broth

and Calamity_; the subject seems to have been a favourite one.

The scene represents the waters of one of the parks, or of a frozen

river; in the foreground is a scene of grotesque confusion, the ice has

given way, and a party of skaters have fallen through; heads, arms, and

skate-bound feet are waving over the hole, through which a group of

unfortunates are engulphed. A little distance off the face of another

unfortunate is thrust through a hole in the ice, wigless, and wearing

the sort of alarm one could conceive under the circumstances; while

further on half a face, with a wig and pig-tail attached, is visible,

the owner of which is evidently shouting for assistance. Other skaters

are disporting themselves in the distance; they, too, are getting

themselves into difficulties. A stout parsonic-looking personage, in

a full-bottomed wig, is falling forward, with the certainty of his

body breaking through the ice: the upset of this capacious individual

will involve a skater who is following him closely, whose hat and wig

have already flown away from him. A party of snug old gentlemen in

top-boots and ample great-coats are enjoying the sufferings of their

fellow-creatures, comfortably on the banks, and in the distance is seen

a large tent for the accommodation of visitors.

1792. _An Italian Family._ (See _A French Family_, 1790.) Drawing

exhibited at the Royal Academy, 1784.

[Illustration: AN ITALIAN FAMILY.]

_November 5, 1792._ _The Hypochondriac._ Designed by James Dunthorne;

etched by T. Rowlandson; published by S. W. Fores, 3 Piccadilly.

The Mind distemper'd--say, what potent charm,

Can Fancy's spectre--brooding rage disarm?

Physic's prescriptive art assails in vain

The dreadful phantoms floating 'cross the brain!

Until, with Esculapian skill, the sage M.D.

Finds out at length by self-taught palmistry

The hopeless case, in the reluctant fee:

Then, not in torture such a wretch to keep,

One pitying bolus lays him sound asleep.

The _Hypochondriac_, forming a companion to _Ague and Fever_ (See

March 29, 1788), is another instance of the difficulty of attempting

to express mental and physical maladies by pictorial embodiments,

the designer being one of the ingenious amateurs of the period, who

had recourse to more experienced professional hands to work their

conceptions into presentable shape, with, at least, some regard for the

accepted ideas of form, and a certain respect for the technicalities

of execution. The _Hypochondriac_ is seated in his arm-chair, in

night-cap and slippers, and wrapped in a flannel dressing-gown, his

arms are folded, and his head droops, in melancholy meditation, on

his chest; the expression of his features is moody in the extreme.

By his side is an iron-clamped chest, to hint that the sufferer is

somewhat tenacious of his wealth, although his life has otherwise

become insupportably burdensome. Phantoms, and figurative horrors of

various descriptions, are haunting the invalid's diseased mind. There

is a dagger, like the sword of Damocles, trembling above his head. A

grim skeleton of Death is, with grotesque energy, threatening to hurl

his dart, as a release from life's fretful calamities. A corpse, with

grave-clothes clinging to its ghastly frame, is proffering the means

of making an untimely exit, by a rope or a pistol at choice; another

phantom figure is setting the example of plunging headlong down to

destruction; a goblin is offering a cup of poison; while a spectre,

wearing the sufferer's own image, is suggesting on his fictitious

person the ease of cutting his throat. A hand with a drawn sword, a

ghostly hearse, and heads of Medusa-like description, with furies,

fates, &c., appear for the purpose of daunting the unsettled brain

of the haunted _Hypochondriac_. A table is covered with _Doctor's

Stuff_, and a well-fed and prosperous charlatan, in attendance on the

distempered patient, is in consultation with a pretty waiting-maid,

whose face and person give indications of the most flourishing

health--a palpable contrast to the sufferer on whom she is retained to

attend.

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

[Illustration: BENEVOLENCE.]

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

_December, 1792._ _The Contrast, 1792. Which is best? British Liberty,

Religion, Morality, Loyalty, Obedience to the Laws, Independence,

Personal Security, Justice, Inheritance, Protection, Property,

Industry, National Prosperity, Happiness; or French Liberty, Atheism,

Perjury, Rebellion, Treason, Anarchy, Murder, Equality, Madness,

Cruelty, Injustice, Treachery, Ingratitude, Idleness, Famine, National

and Private Ruin, Misery?_

A pair of medallions, designed by Lord George Murray, and sent by him

to the _Crown and Anchor_, from whence they were freely distributed;

the style of the execution bears the strongest resemblance to

Rowlandson's handiwork.

_British Liberty_ is peaceful and flourishing; Britannia is seated

under an oak, her arm resting on her shield; in one hand is the cap

of _Liberty_, and _Magna Charta_, in the other the scales of Justice

evenly balanced. The British Lion is at her feet; seen in the rear is

the wide ocean, with British ships riding triumphant. The contrast

to this prospect is _French Liberty_; the genius of France is a fury,

serpents are twined round her head and waist, she is carrying flames

and destruction in her progress; she is holding a dagger in one hand;

in the other is a pike, on which two human hearts and a head are

impaled; her foot is trampling on the decapitated trunk of one of

the victims to revolutionary frenzy. An aristocrat is shown in the

background, hanging by the neck to a street lamp.

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

plain, two guineas coloured.

[Illustration: BEAUTIES.]

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

FOOTNOTE:

[38] 'Lord Barrymore's phaeton was a very high one; and after our

midnight revels in town I have often travelled in it with him to

Wargrave. One very dark night, going through Colnbrook, in the long

street called Featherbed Lane, he kept whipping right and left,

breaking the windows, delighted with the noise as he heard them

crack--this he called _fanning the daylights_.'--_Angelo's Memoirs._

1793.

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

Fores, 3 Piccadilly.

_January 8, 1793._ _Reform Advised: Reform Begun: Reform Complete._

Published by J. Brown, 2 Adelphi.--_Reform Advised_: John Bull, in

his comfortable easy chair, and wearing the homely and decent clothes

of a well-to-do citizen, is seated beside his substantial fare of

good roast beef and plum pudding, with his mug of 'home-brewed.'

Three of the French reformers are taking compassion upon his peaceful

ignorance; they have come over from Paris expressly to convert him

to the advantages of the new order of things. These tatterdemalions

are hungry, ragged, and by no means prepossessing as regards their

exteriors; and, while John Bull is attributing his comforts to 'the

blessed effects of a good constitution,' the sansculottes are taking

considerable pains to bring him to a contrary conviction. The leader

is offering him the cap of liberty and tricolor, and asserting: 'I am

your friend, John Bull: you want a reform;' his followers declare, 'My

honourable friend speaks my sentiments;' and 'John Bull, you are too

fat!'

_Reform Begun_ discovers John Bull under altered circumstances; his

broadcloth is all in tatters, he has a wooden leg, and is shoeless; in

his hand is a frog, which he despairs of relishing: 'A pretty Reform,

indeed; you have deprived me of my leg, and given me nothing but frogs

to eat; I shall be starved; I am no Frenchman!' His three philosopher

friends now wear a more threatening aspect, and are menacing John Bull

with bludgeons and daggers; one is crying: 'Eat it, you dog, and hold

your tongue: you are very happy.' The others are adding: 'That's right,

my friend, we will make him happier still!' and 'He is a little leaner

now!'

_Reform Complete_ shows the national prototype thrown to the ground,

and quite powerless under the results of the new _régime_: 'Oh, oh!

French fraternity!' he is groaning, while the Reformers, flourishing

their flaming incendiary torches, are dancing on his prostrate

body: 'Oh, delightful! you may thank me, you dog, for sparing your

life--thank me, I say!' 'Now he is quite happy--I will have a jump!'

1793. _New Shoes._ Published by S. W. Fores, Piccadilly. (Republished

1804.)--The interior of a cottage, a pretty buxom country maiden is

artlessly exhibiting a pair of new shoes to a smart young collegian,

who is stooping, cap in hand, to admire the effect. The father, looking

in at the window, has taken in the situation at a glance, and his face

does not express approval. A cat is taking advantage of the general

attention being fully engaged, to help herself liberally from a pan of

milk.

1793. _Major Topham_ (of the 'World,') _endeavouring with his squirt to

extinguish the Rising Genius of Holman_. Republished (see 1785, &c.).

1793. _Illustrations to Smollett's Novels._ Published by J. Siebbald,

Edinbrough. Republished 1805, Longman and Co. (See 1791.)

_May 25, 1793._ _A Tit Bit for the Bugs._ Published by S. W. Fores, 3

Piccadilly.--A stout victim disturbed in the night, by the plague of

insects, is sleepily trying to free himself from his tormentors.

Alas! what avails all thy scrubbings and shrugs:

Thou hadst better return to thy sheets;

Heap mountains of clothes over thee and thy bugs,

And smother the hive in the streets.

_September 25, 1794._ _An Old Maid in Search of a Flea._ Published by

S. W. Fores. G. M. Woodward invt., Rowlandson sculp. Companion to the

above.

1792-93. Two illustrations, published by J. Siebbald, 1792. One

illustration, _Soldiers on March, making a feast with Filles de Joie_,

1793, vol. ii. p. 44.

1793. _Narrative of the War._

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

Illustrations to Fielding, _Tom Jones_, &c. (see 1791); T. Smollett.

_Expedition of Humphrey Clinker_, ten plates by T. Rowlandson,

republished 1805, Longman & Co.

1794.

[Illustration: THE GRANDPAPA.]

_January 1, 1794._ _The Grandpapa._ Published by S. W. Fores, 3

Piccadilly. This print appeared originally in 1792.--The conception of

the plate is due to Henry Wigstead, the Bow Street magistrate, to whom

as a friend and travelling companion of Rowlandson, a merry wit, and

one of the congenial spirits of his day, several references have been

made in the course of this work. The grandpapa is evidently enraptured

with his infantine descendant, for whose diversion he is going through

certain ludicrous antics; the venerable gentleman's tongue is not, as

at first glance it would appear, lolling out in idiotic contortions: it

is a lump of sugar which he is holding between his teeth to divert the

infant; and his performances are so far crowned with success, that

his little favourite seems delighted with his exertions.

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

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

[Illustration: ENGLISH CURIOSITY, OR THE FOREIGNER STARED OUT OF

COUNTENANCE.]

_January 1, 1794._ _English Curiosity, or the Foreigner stared out of

Countenance._ (See 1784.)--This print, republished by S. W. Fores,

and bearing the date of 1794, seems to have made its appearance as

appropriate to the time, the caricatures of this year making capital

out of the arrival of a distinguished stranger in this country, the

great _Plenipo_, whose title appears in numerous satires and ballads:--

[Illustration: TRAFFIC.]

When he came to the Court, oh, what giggle and sport,

Such squinting and squeezing to view him!

What envy and spleen in the women were seen,

All happy and pleased to get to him.

They vow'd in their hearts if men of such parts

Were found on the coast of Barbary,

'Twas a shame not to bring a whole guard for the king,

Like the great plenipotentiary.

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

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

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

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

invt., Rowlandson fecit.

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

_December 16, 1794._ _Traffic._ Republished by S. W. Fores. (See

1791.)--Two Jew clothesmen are securing a parcel of cast-off garments

at the door of a highly respectable mansion, whereat a buxom housemaid

is disposing of her master's old apparel. In the street beyond is shown

the milkman adding up his score--a mode of calculation prevalent in the

artist's day, although it has become obsolete long enough ago in the

metropolis.

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

Fores.

_December 18, 1794._ _Village Cavalry practising in a Farm Yard._

G. M. Woodward invt. Rowlandson sculp. Published by S. W. Fores, 3

Piccadilly.--The volunteer and militia movements were pushed forward

with enthusiasm in 1794, it being generally believed that the French

might attempt a descent on our shores at any moment, and the loyally

disposed were determined that they would not be taken either unawares

or unprepared. Abundant materials were offered for the sallies of the

satirists: the training and equipment of this new army of defence

presented a sufficiency of comic incidents; we find Bunbury, Gillray,

Woodward, and Rowlandson, burlesquing the rustic cavalry; in the

present plate a number of farmers and helpers, mounted on cart horses

and armed with blunderbusses, flails, pitchforks, &c., are horrifying

their officer by executing an impromptu charge upon a peaceful

farmyard, knocking down old ladies, scattering the poultry, shooting

the pigeons, capsizing labourers into wells, and producing an effect of

universal confusion and dismay.

_December 20, 1794._ _A Visit to the Uncle._ Published by S. W.

Fores.--The Uncle, who is a sufferer from gout, is evidently a

well-to-do personage; and the attentions of his relatives, who are

favouring the sufferer with a visit of condolence, are, it appears,

suggested by self-interest. One of the highly considerate relations

seems good-naturedly assisting the invalid by making his will, while a

pretty young damsel is embarrassing their interesting connection with a

tender embrace, and altogether the members of the party are evidently

set upon promoting their own prospects with a view to a division of the

estate.

This print, which is aquatinted by F. Jukes, has been described as

Hogarthian in type; it was issued with a companion plate executed under

similar auspices, and entitled _A Visit to the Aunt_.

[Illustration: A VISIT TO THE UNCLE.]

1794 (?). _Jews at a Luncheon, or a peep into Duke's Place._--Three

long-bearded Jews seated at table, on the eve of a feast. The joint

is a sucking pig, into which the carver has put knife and fork; the

faces of the epicures express the most greedy avidity. The appearance

of white wigs above their black locks and goat-like beards gives an

unusually grotesque effect to Rowlandson's delineation of the Hebrew

race, always marked by the exaggerations of his fantastic humour.

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

_December 25, 1794._ _An Early Lesson of Marching._ Woodward del.

Etched by T. Rowlandson. Published by S. W. Fores, 3 Piccadilly.

_December 28, 1794._ _Bad Nexus upon the Stock Exchange._ Published by

S. W. Fores, 3 Piccadilly. Woodward del., Rowlandson sculp.--A meeting

of the various merchants and brokers upon the old Exchange. Sinister

information is supposed to have upset the market; the countenances and

actions of the various representative pillars of commerce present are

expressive of profound depression and distress. The individual oddities

of such an assemblage are characteristically dealt with; the grouping

is good, and the faces, costumes, and movements of the figures are hit

off with the felicity which more particularly belonged to Rowlandson's

graver.

1795.

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

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

[Illustration: A MASTER OF THE CEREMONIES INTRODUCING A PARTNER.]

_November 24, 1795._ _A Master of the Ceremonies introducing a

Partner._--Bath, 1785. 'Mr. Tynson was unanimously elected for the New

Rooms, and Mr. King for the Lower Rooms; they reigned till 1805, when

Tynson resigned. Gainsborough painted King; the portrait is now in the

Assembly Rooms at Bath.'

1796.

1796. _Sir Alan Gardiner, Covent Garden._--'_Weeds carefully

Eradicated and Venomous Reptiles destroyed--By Royal patent. God save

the King!_'--This print bears the name of Kingsbury, and it may be

considered out of place in a work treating of Rowlandson's productions;

as, however, the traces of the latter artist's handiwork are easily

distinguishable, while the resemblance the plate offers to the known

etchings after Kingsbury are less distinctive, it is probable that the

execution, at least, is due to the skill of our caricaturist.

Sir Alan Gardiner was elected Member of Parliament for Westminster,

June 1796. The naval hero, as represented in the engraving, is

dressed in his uniform, supplemented with a gardener's apron; he

is reaping the Republican crop with his 'Sickle of Loyalty,' while

protesting his patriotism: 'My life and services are ever devoted to

my King and country.' Britannia with her buckler is encouraging the

admiral, and crowning her gallant son with a laurel wreath--'Go on,

Britannia approves, and will protect you!' In the distance is shown

Gardiner's ship _The Queen_ with the words, _First of June_, inscribed

on her flag. The admiral is slicing off the head of the Whigs;

Fox is declaring: 'I was always a staunch friend to the crops and

_sansculottes_, but this damned crop is quite unexpected.'

John Horne Tooke, represented as a reptile, is being swept up by the

rake of the Fiend in person; he is crying, 'Now will no prospering

virtue gall my jaundiced eye, nor people fostered by a beloved

sovereign and defended by the wisdom of his counsellors. To anarchy

and confusion I will blow my _Horne_, and wallow in everything that's

damnable!'

The Evil One has already secured the head of Thelwall in his

clutches--'This will not _Tell well_.' Hardy is groaning, 'I was

always Fool-_Hardy_.' The Devil is congratulating the captured Horne

Tooke--'Long looked for come at last, and welcome, thou staunch friend

and faithful servant, enter thou into the hot bed prepared for thee!'

We find a drawing by Rowlandson dated November, 1796, caricaturing

the figures of three very eminent personages in conference, the Lord

Chamberlain (Lord Salisbury), the King of Würtemburg--who had come

over to this country on a high matrimonial mission, to marry the

Princess Royal--and the Duke of Gloucester, playfully described by

the satirists, on account of his slimness, as a 'slice of single

Gloucester.' These portraits, which are very spirited, and full

of character, are drawn on the back of another sketch, the first

suggestions, in Rowlandson's clear and effective outline, for the

cartoons of 'John Bull going to the wars' and 'John Bull's victorious

return,' the best known version of which was issued by Gillray. (_John

Bull's Progress._ Published June 3, 1793.)

_May 5, 1796._ _General Complaint._ Published by S. W. Fores.--The

credit of this invention is due to Isaac Cruikshank, the father of

the great caricaturist, but Rowlandson certainly had a hand in the

execution of one version. The print represents a dissatisfied hero,

whose dolorous portrait is described by the title; his head occupies

the major part of his trunk, and he is not in that respect unlike

the figurative impersonations of the potent and universally familiar

_Nobody_. In one hand he is holding out his empty purse; in the other

is the _London Gazette_; one sheet is filled with _Bankruptcies_,

and the rest is devoted to fresh unpopular exactions to meet the

requirements of the Budget. The people were generally weary of the

war, and dissatisfied with the high prices and the decline of commerce

brought in its wake. The ministers in power were not liked, and the

generals, officers, and those who had the conduct of military affairs,

were regarded with undisguised distrust; suspicions and grumblings

against the administration were rife and outspoken, and in short the

conduct of affairs was pretty unanimously voted disastrous for England,

and discouraging as to her future. There was, according to the critics

and satirists, but one popular headpiece, and he was easily to be

recognised as _General Complaint_.

Don't tell me of Generals rais'd from mere boys,

Though, believe me, I mean not their laurels to taint;

But the General sure that will make the most noise--

If the war still goes on--will be GENERAL COMPLAINT!

1796. _Love._

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

Watchman._

_June 15, 1796._ _The Detection._ Designed by H. Wigstead. Executed by

T. Rowlandson. Published by S. W. Fores.

The credit of having executed the following engravings from the designs

of an amateur has been assigned to Rowlandson; we are not satisfied

that the plates are entirely due to his hand, but it seems likely that

he has had some share in the work, at least as far as the frontispieces

are concerned.

_An accurate and impartial Narrative of the War._--By an officer in the

Guards. In two volumes, containing a Poetical Sketch of the Campaign

of 1793. Also a similar sketch of the Campaign of 1794. To which is

added a Narrative of the Retreat of 1795, memorable for its miseries,

with copious notes throughout. Embellished with engravings taken

from drawings made on the spot, descriptive of the different scenes

introduced in the poem.

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

London: Published by Cadell and Davies, Strand.

_Illustrations._

VOLUME I.

An Austrian Foot Soldier. (Hungarian battalion.)

Favourite Amusement at Head-quarters.

Council of war interrupted.

VOLUME II.

An Austrian Foot Soldier. (Back figure.)

How to throw an army into confusion.

Perils by Sea.

1797.

_January 1, 1797._ _Spiritual Lovers._ Published by Hooper and

Wigstead, 12 High Holborn.

1797. _A Theatrical Candidate._ (_Vide Kelley's Memoirs._)--Sheridan,

in his managerial chair, is seated before his business table, on which

is spread a long and discouraging statement, setting forth those

bugbears of 'Sherry's' tranquillity--a list of 'unpaid salaries,'

'proprietor's demands,' 'Chancery proceedings,' and other applications

for money. Letters from authors: _Sir, do you ever mean to pay me for

my Tragedy? &c._ Beneath the sly manager's seat is perceived, 'pit

money,' 'renter's shares,' and his own particular _Art of Humbug_.

A most unpresentable candidate for dramatic honours is standing

confronting the great man; according to a placard on the wall, this

quotation from _Hamlet_ is applied to the ungainly applicant, 'Oh,

there be players that I have seen play, and heard others praise--and

that highly (not to speak it profanely)--that neither having the accent

of Christian, nor the gait of Christian, Pagan, nor man, have so

strutted and bellowed, that I have thought some of nature's journeymen

had made men, and not made them well: they imitated humanity so

abominably.'

"A candidate for the stage lately applied to the manager of Drury

Lane Theatre for an engagement. After he had exhibited specimens of

his various talents, the following dialogue took place:--'Sir, you

stutter;' 'So did Mrs. Inchbald.' 'You are lame of a leg;' 'So was

Toote.' 'You are knock-kneed;' 'So is Wroughton.' 'You have a d----d

ugly face;' 'So had Weston.' 'You are very short;' 'So was Garrick.'

'You squint abominably;' 'So does Lewis.' 'You are a mere monotonous

mannerist;' 'So is Kemble.' 'You are but a miserable copy of Kemble;'

'So is Barrymore.' 'You have a perpetual whine;' 'So has Pope.' 'In

comedy you are quite a buffoon;' 'So is Bannister.' 'You sing as ill as

you act;' 'So does Kelly.' 'But you have all those defects combined;'

'So much the more singular.'"

_August 1, 1797._ _Feyge Dam, with part of the Fish Market at

Amsterdam._ Rowlandson del., Wright and Schultz sculp. Published by

R. Ackermann, Strand.--A large and important plate presenting boats,

canals, and the quaint buildings; the appearance of these edifices, a

hundred years ago, differed but slightly from their present aspects;

the view is enlivened with crowds of Dutchmen, Jews, vrows, &c.,

variously occupied; all the humours and activities of the scene have

been seized and improved on by the artist with his characteristic

vigour and animation. The architectural portions of Rowlandson's

Dutch and Flemish views are worked out with care and attention, and

with an easy skill, strongly suggesting Prout's studies from similar

picturesque materials.

_Stadthouse, Amsterdam._ Rowlandson del., Wright and Schultz sculp.

Published by R. Ackermann.

_Place de Mer. Antwerp._ Rowlandson del., Wright and Schultz sculp.

Published by R. Ackermann.

'From the Lion d'Or at Antwerp,' writes Angelo in his _Reminiscences_,

'I rambled about the town; the next day I saw the grand church, where

the curious representation of Purgatory is exhibited, and the Place de

Mer, which, as well as the view of the Stadthouse at Amsterdam, has

been so accurately designed by Rowlandson (published by Ackermann) when

on a tour in Holland with Mr. Mitchell, late partner in Hodsoll's (the

banker's) house.'

1797. _Dutch Merchants, sketched at Amsterdam._

_August 1797._ _Tiens bien ton Bonnet, et toi, defends ta Queue.

Rollandson inv._ P. W. Tomkins sculp.--The plate which bears this title

is somewhat of an enigma, especially as regards the orthography of

the artist's name, which must have been generally familiar in 1797.

The style of engraving, more pretty than powerful, a combination of

delicate line and stipple, removes it still further from the recognised

characteristics of Rowlandson's works; and the extreme finish and

smallness of the method employed have produced a somewhat hard and

laboured result, such as one does not expect to find in engravings by

or after this artist.

The subject is revolutionary; an aristocrat, one of the _jeunesse

dorée_ order, and one of the mob, a _bonnet rouge_, are in active

conflict. The two estates have come into collision; the representative

of social refinement is tall, elegant, well-favoured, and scrupulously

attired, in the advanced fashion of the hour; his opponent is

shambling, misshapen, uncombed, wretchedly clad, and with his ragged

shirt open at the front and exposing his chest. The hero of the curled

and scented locks has had the temerity to seize the red bonnet of

Liberty, which is the only pretension to finery indulged in by the

ruffian; in return, the strong hand of the latter is entwined in the

clubbed tail of the dandy, and a significant warning is given him to

take off that cherished appendage--shaving a _queue_ and cutting off a

head by Mère Guillotine, the barber of the aristocrats, being sometimes

synonymous terms during the reign of the Jacobins.

It was in the spring of this year (1797) that a duty was proposed in

England on hats, an impost the people avoided by wearing caps: the

satirists intimated the danger that similar taxes would end in driving

John Bull to adopt the republican habits of our neighbours, and, among

other allusions, Gillray published a plate (April 5th, 1797) under the

title of _Le Bonnet Rouge, or John Bull evading the Hat Tax_, in which

the national prototype is shown trying on the famous red bonnet of the

Jacobin section.

1797. _Cupid's Magic Lanthorn._--Rowlandson, engraved after Woodward.

_Waggon and Horses_ outside 'The Feathers,' published by Laurie and

Whittle (see 1787), republished 1803.

1798.

_January 12, 1798._ _The Dinner._ Published by J. Harris, Sweeting's

Alley, Cornhill, and 8 Broad Street.--This plate forms one of a series

of important size (21 × 17) executed by Rowlandson in a bold and

spirited manner; the plate is dated 1787, and was issued in 1798.

The set, it is certain, was deservedly popular in those famous

fox-hunting days, and doubtless the five best known subjects have

graced the walls of many fine mansions, the owners of which inclined

to the sports of the chase; indeed, this hunting series may be found

in grand old country houses, much prized, and preserved to the present

day, although too frequently the prints are found discoloured by time

from the effects of having been varnished.

The _Hunt Dinner_ pictures the wind-up of a successful day's sport.

The table has been cleared, punch bowls are introduced, the run has

been recorded and canvassed, and the venerable ancestral hall, hung

with the armour of an earlier generation of the occupant's progenitors,

is ringing with the sounds of hilarity. The young squire, a man of

mettle, has mounted a chair in front of the portrait of his sire, who

it seems was a Nimrod in his day: field sports are obviously the family

taste; the owner of the estate, standing at the head of the table to

pledge a toast, and holding a huge prize cup, in which Reynard's brush

is dipped, is waving his cap, and giving a 'View Halloo!' which is

inspiring his guests, the bold hunters gathered round his mahogany, who

are acknowledging his lead with an enthusiasm and _entraînement_ which

correspond to the ardour of their host; the bumpers are lifted on high

with reckless hands, and numerous pairs of stentorian lungs are echoing

the challenge with boundless goodwill; in some instances the good cheer

is a trifle overwhelming, and one hero, though capsized in his chair,

is still doing honour, with undiminished rapture, to the toast of the

evening: even the privileged hounds are adding their voices to the

general hilarity.

_January 6, 1798._ _Comforts of Bath._ Published by S. W. Fores,

Piccadilly.

THE NEW BATH GUIDE;

_OR MEMOIRS OF THE BLUNDERHEAD FAMILY_.

IN A SERIES OF POETICAL EPISTLES

BY CHRISTOPHER ANSTEY, ESQ.

I'll hasten, O Bath, to thy springs,

Thy seats of the wealthy and gay,

Where the hungry are fed with good things,

And the rich are sent empty away.

I'm certain none of Hogarth's sketches

E'er formed a set of stranger wretches.

[Illustration: COMFORTS OF BATH. I.]

_Plate I._

We all are a wonderful distance from home!

Two hundred and sixty long miles are we come!

'Tis a plaguy long way! but I ne'er can repine,

As my stomach is weak and my spirits decline:

For the people cry here, be whatever your case,

You are sure to get well if you come to this place.

As we all came for health (as a body may say),

I sent for the doctor the very next day;

And the doctor was pleased, though so short was the warning,

To come to our lodging betimes in the morning:

He looked very thoughtful and grave, to be sure,

And I said to myself, There's no hopes of a cure!

But I thought I should faint when I saw him, dear Mother,

Feel my pulse with one hand, and a watch in the other:

No token of death that is heard in the night

Could ever have put me so much in a fright:

Thinks I, 'tis all over, my sentence is past,

And now he is counting how long I may last.

* * * * *

And so, as I grew every day worse and worse,

The doctor advised me to send for a nurse.

And the nurse was so willing my health to restore,

She begged me to send for a few doctors more;

For when any difficult work's to be done,

Many heads can despatch it much sooner than one;

And I find there are doctors enough at this place,

If you want to consult in a dangerous case!

[Illustration: COMFORTS OF BATH. II.]

_Plate II._

Why, Peter's a critic--with true Attic salt

Can damn the performers, can hiss, and find fault,

And tell when we ought to express approbation,

By thumping, and clapping, and vociferation;

But Jack Dilettante despises the play'rs--

To concerts and musical parties repairs,

With benefit-tickets his pockets he fills,

Like a mountebank doctor distributes his bills;

And thus his importance and interest shows,

By conferring his favours wherever he goes;

He's extremely polite both to me and my cousin,

For he often desires us to take off a dozen;

He has taste, without doubt, and a delicate ear,

No vile _oratorios_ ever could bear;

But talks of the _op'ras_ and his _signora_,

Cries _Bravo, benissimo, bravo, encora!_

And oft is so kind as to thrust in a note

While old Lady Cuckow is straining her throat,

Or little Miss Wren, who's an excellent singer;

Then he points to the notes with a ring on his finger,

And shows her the crotchet, the quaver, and bar,

All the time that she warbles and plays the guitar;

Yet I think, though she's at it from morning till noon,

The queer little thingumbob's never in tune.

[Illustration: COMFORTS OF BATH. III.]

_Plate III._

* * * * *

One thing, though I wonder at much, I confess, is

The appearance they make in their different dresses;

For, indeed, they look very much like apparitions

When they come in the morning to hear the musicians;

And some I am apt to mistake, at first sight,

For the mothers of those I have seen over night.

It shocks me to see them look paler than ashes,

And as dead in the eye as the busto of Nash is,

Who the evening before were so blooming and plump.

I'm grieved to the heart when I go to the pump;

For I take every morning a sup of the water,

Just to hear what is passing and see what they're a'ter;

For I'm told the discov'ries of persons refined

Are better than books for improving the mind.

But a great deal of judgment's required in the skimming

The polite conversation of sensible women,

For they come to the pump, as before I was saying,

And talk all at once while the music is playing!

'Your servant, Miss Fitchet.' 'Good morning, Miss Stote.'

'My dear Lady Riggledum, how is your throat?

Your ladyship knows that I sent you a scrawl

But I hear that your ladyship went to the ball.'

'Oh, Fitchet, don't ask me--good heavens, preserve----

I wish there were no such a thing as a nerve;

Half dead all the night, I protest and declare----

My dear little Fitchet, who dresses your hair?

You'll come to the rooms--all the world will be there.

Sir Toby Mac Negus is going to settle

His tea-drinking night with Sir Philip O'Kettle:

I hear that they both have appointed the same;

The majority think that Sir Philip's to blame;

I hope they won't quarrel, they're both in a flame:

Sir Toby Mac Negus much spirit has got,

And Sir Philip O'Kettle is apt to be hot.'

'Have you read the "Bath Guide," that ridiculous poem?

What a scurrilous author! Does nobody know him?'

'You know I'm engaged, my dear creature, with you

And Mrs. Pantickle this morning at loo;

Poor thing! tho' she hobbled last night to the ball,

To-day she's so lame that she hardly can crawl--

Major Lignum has trod on the first joint of her toe;--

That thing they played last was a charming concerto,

I don't recollect I have heard it before;

The minuet's good, but the jig I adore;

Pray speak to Sir Toby to cry out _encore_.'

_Plate IV._

[Illustration: COMFORTS OF BATH. IV.]

Jen declar'd she was shocked that so many should come

To be doctored to death such a distance from home,

At a place where they tell you that water alone

Can cure all distempers that ever were known.

But, what is the pleasantest part of the story,

Jen has ordered for dinner a piper and dory;

For to-day Captain Cormorant's coming to dine,

That worthy acquaintance of Jenny's and mine.

'Tis a shame to the army that men of such spirit

Should never obtain the reward of their merit;

And after so many hardships and dangers incurred,

He himself thinks he ought to be better preferred.

And Roger, or, what is his name? Nicodemus,

Appears full as kind, and as much to esteem us;

Our Prudence declares he's an excellent preacher,

And by night and by day he is so good to teach her;

I told you before that he's often so kind

To go out a riding with Prudence behind,

So frequently dines here without any pressing--

And now to the fish he is giving his blessing;

And as that is the case, though I've taken a griper,

I'll venture to peck at the dory and piper.

_Plate V._

[Illustration: COMFORTS OF BATH. V.]

But my cousin Jenny's as fresh as a rose,

And the Captain attends her wherever she goes.

The Captain's a worthy good sort of a man,

For he calls in upon us whenever he can,

And often a dinner or supper he takes here,

And Jenny and he talk of Milton and Shakspeare;

For the life of me now I can't think of his name,

But we all got acquainted as soon as we came.

_Plate VI._

[Illustration: COMFORTS OF BATH. VI.]

But come, Calliope, and say

How pleasure wastes the various day:

Wheresoever be thy path,

Tell, O tell, the joys of Bath.

Every morning, every night,

Gayest scenes of fresh delight.

O ye guardian spirits fair,

All who make true love your care,

May I oft my Romeo meet,

Oft enjoy his converse sweet;

Lo! where all the jocund throng

From the pump-room hastes along,

See with joy my Romeo comes!

He conducts me to the Rooms;

There he whispers, not unseen,

Tender tales behind the screen;

While his eyes are fixed on mine,

See each nymph with envy pine.

O the charming parties made!

Some to walk the South Parade,

Some to Lincomb's shady groves,

Or to Simpson's proud alcoves;

Some to chapel trip away,

Then take places for the play;

Or to the painter's we repair,

Meet Sir Peregrine Hatchet there,

Pleased the artist's skill to trace

In his dear Miss Gorgon's face.

Happy pair! who fixed as fate

For the sweet connubial state,

Smile in canvas _tête-à-tête_!

_Plate VII._

[Illustration: COMFORTS OF BATH. VII.]

'And if you've a mind for a frolic, i' faith,

I'll just step and see you jump into the bath.'

Thinks I to myself, they are after some fun,

And I'll see what they're doing, as sure as a gun:

Oh! 'twas pretty to see them all put on their flannels,

And then take the water like so many spaniels;

And though all the while it grew hotter and hotter,

They swam just as if they were hunting an otter.

'Twas a glorious sight to behold the fair sex

All wading with gentlemen up to their necks,

And view them so prettily tumble and sprawl

In a great smoking kettle as big as our hall;

And to-day many persons of rank and condition

Were boil'd by command of an able physician.

* * * * *

You cannot conceive what a number of ladies

Were stewed in the water the same as our maid is:

So Tabby, you see, had the honour of washing

With folks of distinction and very high fashion;

But in spite of good company, poor little soul,

She shook both her ears like a mouse in a bowl.

But what is surprising, no mortal e'er view'd

Any one of the physical gentlemen stew'd;

Since the day that King Bladud first found out these bogs,

And thought them so good for himself and his hogs,

Not one of the faculty ever has try'd

These excellent waters to cure his own hide;

Tho' many a skilful and learned physician,

With candour, good sense, and profound erudition,

Obliges the world with the fruits of his brain,

Their nature and hidden effects to explain.

_Plate VIII._

[Illustration: COMFORTS OF BATH. VIII.]

Our trade is encouraged as much, if not more,

By the tender soft sex I shall ever adore;

But their husbands, those brutes, have been known to complain,

And swear they will never set foot here again.

Ye wretches ingrate! To find fault with your wives,

The comfort, the solace, and joy of your lives;

Oh! that women, whose price is so far above rubies,

Should fall to the lot of such ignorant boobies!

Doesn't Solomon speak of such women with rapture,

In verse the eleventh and thirty-first chapter?

And surely that wise King of Israel knew

What belonged to a woman much better than you!

He says, 'If you find out a virtuous wife,

She will do a man good all the days of her life;

She deals like a merchant, she sitteth up late.'

And you'll find it is written in verse twenty-eight,

Her husband is sure to be known at the gate:

He never hath need or occasion for spoil,

When his wife is much better employ'd all the while;

She seeketh fine wool, and fine linen she buys,

And is clothed in purple and scarlet likewise.

Now, pray, don't your wives do the very same thing,

And follow th' advice of that worthy old king?

Do they spare for expenses themselves in adorning?

Don't they go about buying fine things all the morning?

And at cards all the night take the trouble to play,

To get back the money they spent in the day?

But these to their husbands more profit can yield,

And are much like a lily that grows in the field;

They toil not, indeed, nor, indeed, do they spin,

Yet they never are idle when once they begin,

But are very intent on increasing their store,

And always keep shuffling and cutting for more.

Industrious creatures! that make it a rule

To secure half the fish, while they _manage_ the pool;

Methinks I should like to excel in a trade

By which such a number their fortunes have made.

I've heard of a wise, philosophical Jew,

That shuffles the cards in a manner that's new;

One Jonas, I think; and could wish for the future

To have that illustrious sage for my tutor;

And the Captain, whose kindness I ne'er can forget,

Will teach me a game that he calls _lansquenet_.

_Plate IX._

[Illustration: COMFORTS OF BATH. IX.]

SONG, WRITTEN AT MR. GILL'S, AN EMINENT COOK AT BATH.

Of all the cooks the world can boast,

However great their skill,

To bake or fry, to boil or roast,

There's none like Master Gill.

Sweet rhyming troop, no longer stoop

To drink Castalia's rill;

Whene'er ye droop O taste the soup

That's made by Master Gill.

'Tis this that makes my Chloe's lips

Ambrosial sweets distil;

For leeks and cabbage oft she sips

In soup that's made by Gill.

Immortal bards, view here your wit,

The labours of your quill,

To singe the fowl upon the spit

Condemned by Master Gill.

My humble verse that fate shall meet,

Nor shall I take it ill;

But grant, ye gods! that I may eat

That fowl, when drest by Gill.

These are your true poetic fires

That drest this savoury grill;

Even while I eat the Muse inspires,

And tunes my voice to Gill.

When Chloe strikes the vocal lyre,

Sweet Lydian measures thrill;

But I the gridiron more admire,

When tuned by Master Gill.

'Come, take my sage of ancient use,'

Cries learned Doctor Hill;

'But what's the sage without the goose?'

Replies my Master Gill.

He who would fortify his mind,

His belly first should fill;

Roast beef 'gainst terrors best you'll find;

'The Greeks knew this,' says Gill.

Your spirits and your blood to stir,

Old Galen gives a pill;

But I the forced-meat ball prefer,

Prepared by Master Gill.

_Plate X._

[Illustration: COMFORTS OF BATH. X.]

What joy at the ball, what delight have I found,

By all the bright circle encompassed around!

Each moment with transport my bosom felt warm,

For what, my dear mother, like beauty can charm!

E'en the Goddess of Love, and the Graces, and all

Must yield to the beauties I've seen at the ball;

For Jove never felt such a joy at his heart,

Such a heat as these charming sweet creatures impart.

In short, there is something in very fine women,

When they meet all together, that's quite overcoming.

* * * * *

But hark! now they strike the melodious string,

The vaulted roof echoes, the mansions all ring;

At the sound of the hautboy, the bass, and the fiddle,

Sir Boreas Blubber steps forth in the middle.

Now why should I mention a hundred or more,

Who went the same circle as others before,

To a tune that they play'd us a hundred times o'er?

And who at the ball on that night did appear,

Who danc'd in the van and who limp'd in the rear,

What dukes and what drapers, what barbers and peers,

What marquises, earls, and what knights of the _shears_,

What cook and what countess, what nymphs of the brooms,

What mop-sceptred queens came that night to the Rooms.

But at what time they heard the horn's echoing bellow,

The hautboy's shrill twang, the brisk fiddle, the mellow

Bassoon, and the sweet grumbling violoncello.

At what time they heard the men puff and belabour

With mouth, stick, and fist the gay pipe and the tabour,

At once they did scuttle, did flutter and run,

And take wing like wild-geese alarm'd with a gun,

In a moment came bustling and rustling between one;

Some coupled like rabbits, a fat and a lean one,

Some pranc'd up before, some did backward rebound,

While some more in earnest, with looks more profound,

And sweat-bedew'd foretops, did lard the lean ground;

But others more neat on the pastern arose,

Like the figure of Pan, whom you've seen, I suppose,

Just saluting the turf with the tips of his toes;

And as nothing, I think, can more please and engage

Than a contrast of stature, complexion, and age,

Miss CURD with a partner as black as Omiah,

KITTY TIT shook her heels with old Doctor GOLIAH,

And little JOHN CROP, like a pony just nick't,

With long DOLLY LOADERHEAD scamper'd and kick't.

As for MADGE, tho' young SQUIRT had been promised the honour,

BILLY DASHER stept forth and at once seized upon her;

While with flames that keen jealousy's rage did improve,

Poor SQUIRT felt the heart rending passion of love.

_Plate XI._

[Illustration: COMFORTS OF BATH. XI.]

For persons of taste and true spirit, I find,

Are fond of attracting the eyes of mankind:

What numbers one sees, who, for that very reason,

Come to make such a figure at Bath ev'ry season!

'Tis this that provokes Mrs. Shenkin Ap-Leek

To dine at the ord'nary twice in a week,

Though at home she might eat a good dinner in comfort,

Nor pay such a cursed extravagant sum for't;

But then her acquaintance would never have known

Mrs. Shenkin Ap-Leek had acquired the _bon ton_;

Ne'er show how in taste the Ap-Leeks can excel

The Duchess of Truffles and Lady Morell;

Had ne'er been ador'd by Sir Pye Macaroni,

And Count Vermicelli, his intimate crony;

Both men of such _taste_, their opinions are taken

From an ortolan down to a rasher of bacon.

* * * * *

The company made a most brilliant appearance,

And ate bread and butter with great perseverance

All the chocalate, too, that my lord set before 'em,

The ladies despatched with the utmost decorum.

The peer was quite ravished, while close to his side

Sat Lady Bunbutter, in beautiful pride!

Oft turning his eyes, he with rapture surveyed

All the powerful charms she so nobly displayed.

Oh had I a voice that was stronger than steel,

With twice fifty tongues to express what I feel,

And as many good mouths, yet I never could utter

All the speeches my Lord made to Lady Bunbutter!

So polite all the time that he ne'er touched a bit,

While she ate up his rolls and applauded his wit:

For they tell me that men of _true taste_, when they treat,

Should talk a great deal, but they never should eat;

I freely will own, I the muffins preferred

To all the genteel conversation I heard.

_Plate XII._

[Illustration: COMFORTS OF BATH. XII.]

I never as yet could the reason explain,

Why we all sallied forth in the wind and the rain;

For sure such confusion was never yet known;

Here a cap and a hat, there a cardinal blown!

* * * * *

How the Misses did huddle, and scuddle, and run!

One would think to be wet must be very good fun;

For by waggling their tails, they all seemed to take pains

To moisten their pinions, like ducks when it rains.

I saw, all at once, a prodigious great throng

Come bustling, and rustling, and jostling along;

As home we came--'tis with sorrow you'll hear

What a dreadful disaster attended the peer.

_April 1, 1798._ _Views of London._ No. 3.--Entrance of Tottenham Court

Road Turnpike, with a view of St. James's Chapel. Rowlandson delin.,

Schultz sculp. Published April 1, 1798, Ackermann's Gallery, Strand.

_April 1, 1798._ _Views of London._ No. 4.--Entrance of Oxford Street

or Tyburn Turnpike, with a view of Park Lane. Rowlandson delin.,

Schultz sculp. Published April 1, 1798, Ackermann's Gallery, Strand.

_June 1, 1798._ _Views of London._ No. 5.--Entrance from Mile End or

Whitechapel Turnpike. Rowlandson delin., Schultz sculp. Published June

1, 1798. Ackermann's Gallery, Strand.

_June 1, 1798._ _Views of London._ No. 6.--Entrance from Hackney or

Cambridge Heath Turnpike, with a distant view of St. Paul's. Rowlandson

delin., Schultz sculp. Published June 1, 1798. Ackermann's Gallery,

Strand.

_May 1, 1798._ _He won't be a Soldier._ Schultz sculp. Published by R.

Ackermann.

_May 1, 1798._ _She will be a Soldier._ Schultz sculp. Published by R.

Ackermann.

1798. _An extraordinary scene on the road from London to Portsmouth, or

an instance of unexampled speed used by a body of Guards, consisting

of 1,920 rank and file, besides officers; who on June 10, 1798, left

London in the morning, and actually began to embark for Ireland at

Portsmouth at 4 o'clock in the afternoon, having travelled seventy-four

miles in ten hours._ Rowlandson del., Schultz sculpt.

_July 18, 1798._ _Light Horse Volunteers of London and Westminster,

Reviewed by His Majesty on Wimbledon Common._ July 5, 1798.

_August 1, 1798._ _Soldiers Recruiting, 1._ Rowlandson del., Schultz

sculp. Published by R. Ackermann.

_August 1, 1798._ _The Cottage Door._ Rowlandson del., Schultz sculp.

Published by R. Ackermann.

_August 1, 1798._ _Private Drilling, 5._ Rowlandson del., Schultz

sculpt. Published by R. Ackermann.

_September 1, 1798._ _The Consequence of not Shifting the Leg._

Published by H. Angelo, Curzon Street, Mayfair.

[Illustration: THE CONSEQUENCE OF NOT SHIFTING THE LEG.]

_September 1, 1798._ _The Advantage of Shifting the Leg._ Published by

H. Angelo, Curzon Street, Mayfair.

_October 15, 1798._ _The glorious victory obtained over the French

fleet off the Nile on August 1, 1798, by the gallant Admiral Lord

Nelson of the Nile._--Showing the distressed situation of the French

frigate _La Serieuse_, of 36 guns and 250 men, which, after having been

dismasted, sank. _L'Orient_ of 120 guns, and 1,010 men, commanded by

the French Admiral Brueys, is seen in the background blowing up, by

which she considerably damaged _The Majestic_, of 74 guns, 590 men,

commanded by Captain Westcott, who fell early in the action. _The

Majestic was_, after his death, fought with the utmost bravery by her

first lieutenant, Mr. Cuthbert, during the remainder of the action.

London: published October 15, 1798, at Ackermann's Gallery, 101 Strand.

Rowlandson del.

_October 20, 1798._ _Admiral Nelson recruiting with his brave tars

after the glorious Battle of the Nile._ Rowlandson del. and sculp.

Published at Ackermann's Gallery, Strand.--The gallant admiral and his

chosen captains are raised above the crowd on deck; they are, like

true British tars of the old school, encouraging the _esprit de corps_

which the hero perfectly understood, since he was able, so far as the

sea-lions who served under him were concerned, to cultivate it to such

unmeasurable advantage for the honour of his country.

The brave tars, of all denominations, are thoroughly enjoying

themselves after their own hearts, while commemorating the immortal

victory of Aboukir Bay, and with each successive bumper are toasting

their idol, who is set in their midst, and drinking success and glory

to the navy of Old England, and confusion to her enemies--patriotic

sentiments to which one and all were prepared to give practical effect

in the hour of action.

Dammy Jack, what a gig, what a true British whim,

Let the fiddles strike up on the main:

What seaman would care for an eye or a limb

To fight o'er the battle again?

Put the bumpers about and be gay,

To hear how our doxies will smile.

Here's to Nelson for ever, huzza,

And King George on the banks of the Nile.

See their tricolor'd rags how they're doft,

To show that we're lords of the sea,

While the standard of England is flying aloft,

Come, my lads, let us cheer it with three!

[Illustration: THE ADVANTAGE OF SHIFTING THE LEG.]

1798. _A Mahomedan Paradise._--A Turk embracing an elegantly dressed

and highly presentable female.

_November 12, 1798._ _High Fun for John Bull, or the Republicans put

to their last shift._ Published by R. Ackermann, 101 Strand.--The

victory gained by Nelson at Aboukir Bay, over the combined fleets,

disconcerted the French enthusiasts and restored confidence at home; it

was recognised that while English admirals could sweep their enemies

from the seas, neither the dangers of invasion, nor the difficulties

of contending with France, need be ranked of much consequence. In the

print, John Bull is enjoying the _High Fun_ of setting his opponents

to equip fresh fleets, in order that his sailors may carry them off

captive as trophies. A _Dutch Oven_ is serving as the bakery, Mynheer

is pushing in a fresh batch of war frigates; 'Donder and Blaxan to dis

fraternisation, instead of smoking mine pipes, and sacking de gold, dis

French broders make me build ships, dat Mynheer Jan Bull may have the

fun to take dem.' The Spaniard, with a tray of big guns, is faring no

better under fraternisation. 'How! that Nelson wit one arm and eye can

take our ships by dozens, then vat shall we do against the autres, wid

two arms and eyes? day will have two dozen at a time.' The Frenchmen

are excited over their prospects; the head baker has a fine batch ready

for the oven: 'Sacredieu, Citoyens, make a haste wit one autre fleet,

den we will show you how to make one grande Invasion;' the journeyman

is working at his kneading tub, which contains such ingredients for

fresh fleets as, _Ruination, Botheration, Confiscation, Requisition,

Plunderation, Limitation, Execution, Constitution, Fraternisation,

Naturalisation, Expedition, Abolition, Cut-throatation, and Damnation_.

The assistant is not hopeful: 'By Gat, well you may talk, make haste,

when that English Nelson take our ships by the douzaine!' John Bull,

whip in hand, is laughing with satisfaction: 'What! you could not find

that out before, you stupid dupes, but since you began the fun you

shall keep on--so work away, dam ye, else Jack Tar will soon be idle.'

Jack Tar is seen hopping off with a full load of ships; his spirits are

excellent: 'Push on, keep moving, I'll soon come for another cargo; Old

England for ever, huzza!'

1798. _The Discovery._ Republished 1800, 1808-9, &c.--A bed-chamber

is the scene of the discovery; a young couple have been surprised

by a corpulent old gentleman, who is threatening a kneeling and

simple-looking youth with a red-hot poker; the detected swain, who has

been disclosed in a cupboard, is entreating forgiveness with clasped

hands, and the lady is dissolved in tears.

Published 1798. Lately published by William Wigstead, 40 Charing Cross.

Printed September, 1799.

Published 1798. _Annals of Horsemanship.--Containing accounts of

accidental experiments, and experimental accidents, both successful

and unsuccessful, communicated by various correspondents to Geoffrey

Gambado, Esq._ Illustrated with seventeen copper plates. Printed on a

super-royal paper. Price in boards, 15_s._ 3_d._

Published 1798. _The Academy of Grown Horsemen.--Containing complete

instructions for walking, trotting, cantering, galloping, stumbling,

and tumbling._ Printed on a super-royal paper, and illustrated with

twelve copper plates. Price in boards, 15_s._ 3_d._

Published 1798. _Love in Caricature._ On eleven plates, etched

by Rowlandson; with a humorous frontispiece. The plates consist

of--Spiritual Lovers, Aged Lovers, Sympathetic Lovers, Quarrelsome

Lovers, Duke's Place Lovers, Avaricious Lovers, Country Lovers,

Forgiving Lovers, Bashful Lovers, Platonic Lovers, and Drunken Lovers.

Published in two numbers, 5_s._ each.

1799.

_January 1, 1799._ _Cries of London. No. 1. Buy a Trap, a Rat-Trap,

buy my Trap._ Published by R. Ackermann, 101 Strand.--The vendor of

rat-traps is pausing before a shop decorated with such live stock as a

rabbit in a hutch, and a jackdaw in a cage; he is offering his traps to

a spectacled old gentleman, who is considering his ware with curiosity.

The rats in a trap, carried on the trap-seller's arm, are exciting the

interest of a dog.

[Illustration: CRIES OF LONDON. NO. 1, 'BUY A TRAP, A RAT TRAP, BUY MY

TRAP.']

_January 1, 1799._ _Cries of London. No. 2. Buy my Goose, my

Fat Goose._ Published by R. Ackermann, 101 Strand.--A fat

countrified-looking dealer is offering some fine fat geese for sale at

the door of an apothecary, who, with his wife, is examining the birds

with unnecessary closeness.

_February 20, 1799._ _Cries of London. No. 3. Last Dying Speech and

Confession._ Published by R. Ackermann, 101 Strand.--A street ballad

singer, of the St. Giles' order, is crying the last speech of 'the

unfortunate malefactors who were executed this morning:' a common

enough announcement when the extreme punishment of hanging visited

small offences, and executions were of more frequent occurrence. That

the fear of capital punishment did not act as a corrective to theft

is illustrated in the background of the print, where a mere infant is

drawn in the act of picking the pocket of a passing pedestrian.

_February 20, 1799._ _Cries of London. No. 4. Do you want any

brick-dust?_ Published by R. Ackermann, 101 Strand.--From this plate

it seems that brick-dust, in the artist's days, was sold like sand. A

patient donkey is saddled with an enormous pannier of brick-dust, and

the vendor is pouring the contents of a measure into a bowl, held at

the door of a highly respectable residence, by a pretty maid, to whose

personal captivations the attentions of the brick-dust dealer are most

particularly addressed.

_March 1, 1799._ _Cries of London. No. 5. Water-cresses, come buy my

Water-cresses._ An old shylock-like person is knocking at a door in

Portland Street (Mrs. Burke's), and is solicited to buy water-cresses

by a neat maiden with a pretty face and a tall shapely form; the old

reprobate is leering at the water-cress girl, and is disregarding a

further offer of cresses from a more ragged and juvenile seller. A

pair of highly-coloured damsels, redundant in charms and florid finery,

are peering out of an upper window at the aged visitor.

[Illustration: CRIES OF LONDON. NO. 5, 'WATER-CRESSES, COME BUY MY

WATER-CRESSES.']

1799. _Cries of London. No. 6. All a-growing, a-growing; here's flowers

for your gardens._--A smart young gardener, with a substantial cart,

drawn by a donkey, has a handsome selection of various evergreens and

flowers for sale; he is standing at the door of a mansion, where a lady

and little girl are choosing from his stock of geraniums in pots.

_May 4, 1799._ _Cries of London. No. 8. Hot cross buns, two a penny

buns._--A decent woman, wearing a white apron, and with a cloth over

her basket, is supplying a patroness with a plateful of hot cross

buns. A pretty woman, in a neat morning dress, is buying buns, and

her children by her side are tasting the same without any loss of

time. Outside a church, in the background, is a stout dignitary, with

flowing gown, sleeves, and full wig, who is sweeping away from an

appeal for charity addressed to him by a beggar woman and her offspring.

_February 1, 1799._ _A Charm for a Democracy, Reviewed, Analysed,

and Destroyed, January 1, 1799, to the confusion of its Affiliated

Friends._ Published for the _Anti-Jacobin Review_, by T. Whittle,

Peterborough Court, Fleet Street.--The Tory party at the beginning

of 1799 (the parliamentary session had opened at the end of November

1788) endeavoured to stifle the Opposition by raising outcries against

sedition, and by denouncing publications of a revolutionary tendency,

with which they pretended to implicate the Whigs. On the strength of

certain alarmist tracts, extraordinary measures were taken to restrain

the liberty of the press, and a few months later, in July, the Ministry

went so far as to put into effect the extreme measure of subjecting

printing presses to a licence. The organs of the Tories, exulting

in the discomfiture of their opponents, were continually urging

increased and severer political persecutions, while they pretended

that the members of the Opposition were, in despair of succeeding in

preserving their party by fair means, identifying themselves with

the more treasonable writers, and were laying secret trains for the

destruction of the Constitution. The King's Bench, Newgate, and

Coldbath Fields began to be crowded with political prisoners, the

last-mentioned receiving the popular nickname of _the Bastille_. The

_Anti-Jacobin Review_ was, as usual, peculiarly smart at the expense of

the malcontents, and Rowlandson's assistance was enlisted to prepare a

cartoon which, it was supposed, would expose the Whigs in their true

colours, and hold up the abettors of sedition to the execration of all

loyal subjects.

There are four elements displayed in this general view of the fancied

emergency: the supernatural department, headed by the arch-fiend in

person; the Radical pamphleteers and so-called workers of treason; the

prominent members of the disconcerted Opposition and their followers;

and the King and his ministers displayed, as Olympians, in the clouds.

The Infernal Influence is superintending the preparation of the charm,

which Horne Tooke and his friends, as the witches in Macbeth, are

working at a boiling cauldron; the nature of the component parts of the

conjuration are thus set forth:--

Eye of STRAW and toe of CADE,

TYLER'S bow, KOSCIUSKO'S blade,

RUSSELL'S liver, tongue of cur,

NORFOLK'S boldness, FOX'S fur;

Add thereto a tiger's cauldron,

For the ingredients of our cauldron!

[Illustration: A CHARM FOR A DEMOCRACY, REVIEWED, ANALYSED, AND

DESTROYED, JANUARY 1ST, 1799, TO THE CONFUSION OF ITS AFFILIATED

FRIENDS.]

One of Horne Tooke's colleagues is working the incantation from a

breviary of his own, 'Lying, False Swearing, &c.,' and is flourishing a

witch's besom, 'Thrice the Gallic wolves have bayed!' Another of the

weird sisterhood is stirring the unholy mixture, crying: 'Thrice! and

twice King's Heads have fallen!' Horne Tooke is attending to the fuel

department; he is muttering: ''Tis time, 'tis time, 'tis time!' The

witches' familiars are whirling above their heads, and in the midst of

the flames from the cauldron, in the shape of wild cats, with wings;

a flying monkey, with 'Voltaire' on his collar; a tiger with vulture

wings, marked Robespierre; and Dr. Price's little dog, which is even

more remarkable than the animal associated with the early magicians,

are the ministering imps. The fiend, with his pitch-fork, and attended

by dragons, serpents, Cerberus, and other terrific monsters of an

imaginative construction, suggestive of Callot's grotesques, is

directing as head cook the Democratic philter-workers to

Pour in streams of Regal Blood,

Then the charm is firm and good.

The inflammable materials, which are piled up to make the pot boil,

and fanned into flames by a diabolical news-boy, from the _Courier_,

consist of such combustibles as _O'Connor's Manifesto_; _Oakley's

Pyrology_; _Belsham's History_; _Rights of Nature_; _Quigley's Dying

Speech_; _Freud's Atheism_; _Whig Club_; _Universal Equality_;

_Darwin's topsey-turvey Plants and Animals' Destruction_; _Sedition_;

_French Freedom_; _Political Liberty_; _Duty of Insurrection_;

_Equality_; _Fraud_; _Sophisms_; _Blasphemy_; _Heresy_; _Deism_,

together with such fiery sentiments as _Kings can do no good_; _Joel

Barlow_; _Resistance is Prudence_; _The Vipers of Monarchy and

Aristocracy will soon be strangled by the infant Democracy_; _Kings are

Servants_, _&c._; with the _Analytical Review_, a rival publication,

thrown in as _Fallen never to rise again_.

The Duke of Bedford is at the head of the Opposition; the members

seem to fare badly between the two extremes of Pittites and Radicals,

the leader is demanding: 'Where are they! Gone. Pocketed the Church

and Poorlands! The Tythes next!' The Duke of Norfolk is deploring the

'Fallen Sovereignty (of the People). Degraded Counsellor!' having

been deprived of some of his offices as a punishment for the famous

toast. Lord Derby is equally hopeless: 'Poor Joe is done. No Test, no

Corporation Acts.' Fox, who had kept his word and absented himself

from the debates, is reduced to a tattered state, and enquires: 'Where

can I hide my secluded head?' Erskine, in legal trim, as 'Counsellor

Ego,' is deploring: 'Ah, woe is me--poor I!' Tierney is regretting his

past activity: 'Would I had never spoke of the licentiousness of the

press!' Sir Francis Burdett, who had brought an investigation into the

abuses practised on the unfortunates in the New State prison, before

the House, a motion founded on his own observations, is enquiring:

'What can I report to my friends at the _Bastille_?' Thelwall, with his

lectures under his arm, is 'Off to Monmouthshire;' and the followers

of the dispirited 'party' are wandering blindly, lost in the 'Cave of

Despair.'

Above the clouds is the King as Jupiter, with his supporters; light is

being poured down in streams, upon the machinations of the disaffected

patriots, from a symbolical source: _Afflavit Deus et Dissipantur_.

'Your Destruction cometh as a whirlwind!' 'Vengeance is ripe!' The

monarch is strangling a brace of serpents, and asserting, 'Our enemies

are confounded!' One minister is offering congratulations on a 'Great

Victory!' while Pitt, behind the Crown, is insinuating an expeditious

method of disposing of his adversaries: 'Suspend their bodies.' The

Lord Chancellor, careful of the forms of law, is suggesting a more

formal mode of procedure: 'Take them to the King's Bench and Coldbath

Fields!'

_February 10, 1799._ _An Artist Travelling in Wales._ Rowlandson

delin., Mercke sculp. Published by R. Ackermann, 101 Strand.--The

caricaturist--in company with his friend, Henry Wigstead, himself

a bit of an artist, further given to sportive flirtation with the

Muses--visited North and South Wales in August 1797, for the purpose of

carrying out a picturesque tour, to which the two travellers furnished

the accompaniments of descriptive sketches and sketchy descriptions.

The journey was undertaken solely as a pleasure trip, and not carried

out with the intention of 'making a book.' It seems, however, that the

interest which partial friends took in the notes of scenery, as found

in Rowlandson's sketch-books, and in the minutes of travel, as jotted

down in Wigstead's journal, finally prevailed over the travellers'

reluctance to make much of a little; and accordingly, some two years

later, the _Remarks on a Tour to North and South Wales_ were submitted

to the public, in the form of an octavo book, with some additional

views by the hands of Pugh, Howitt, &c. (See 1800.)

Rowlandson appears both to have enjoyed this excursion, and to have

been able to turn his opportunities to good account. He made several

characteristic landscape sketches, and the present writer possesses

a few drawings, in various stages of progress, which were evidently

commenced on the spot.

A more Rowlandsonian relic of the tour is preserved in the plate, _An

Artist Travelling in Wales_, first published soon after the traveller's

return to town. Who the artist so represented may be the writer is

not prepared to assert; but, as caricaturists have a well-recognised

habit of turning not only the figures of their friends, but their own

persons, to satiric usages on occasions, it is suggested that the

large and gaunt limner, with his strongly-outlined features, and with

his long legs slung across a Welch pony, may offer some points of

resemblance to the designer; it is evident that more than once (See

_The Chamber of Genius_, April 2, 1812) Rowlandson has burlesqued his

own figure, or made himself the hero of equivocal situations, much as

artists who have lived in our times have, now and again, delighted

to introduce their own features amidst the fictitious personages they

have thought proper or have been called upon to introduce. Notably in

the cases of Thackeray and Cruickshank, this whimsical _penchant_ is of

such frequent occurrence, that the student, curious in tracing out such

eccentricities of genius, will be able to discover at least a dozen

characteristic and intentional resemblances of those admirable masters

scattered over their illustrations, and relating to various periods of

their careers.

It may be that remembrances of his old master at the Academy, Richard

Wilson, who held the office of Librarian when the waggish youth,

Rowlandson, was a student at the Academy, floated through the artist's

mind in the course of his Welsh peregrinations, and tempted him to

combine points of personality peculiar to both. It was not the first

time Rowley's pencil had taken liberties with the marked traits of

'Red-nosed Dick,' who died, it must be conceded, some fifteen years

before the tour in question. At all events, Peter Pindar, the witty

and vituperative, was one of Rowlandson's intimates, and his advice

to landscape-painters in general and to his friend and chum, Richard

Wilson, in particular, whose talents he had the daring to lavishly

acknowledge in the face of a generation which treated the artist with

cold neglect because, forsooth, his works were 'not fashionable,'

should appropriately be engraved below Rowlandson's unflattering

presentation:--

Claude painted in the open air.

Therefore to Wales at once repair,

Where scenes of true magnificence you'll find;

Besides this great advantage--if in debt,

You'll have with creditors no _tête-à-tête_;

So leave the bull-dog bailiffs all behind,

Who hunt you with what noise they may,

Must hunt for needles in a stack of hay.

A view in Wales is faithfully pictured; the unsophisticated natives are

struck with astonishment at the figure of the travelling artist, whose

profession they are far from comprehending, and whose paraphernalia

excite their wonder. Rain, which is not unknown in the Principality,

is wrapping landscape and figures in a moist embrace. The artist's

very remarkable umbrella is a poor protection; his hat is limp; for

safety his long clay pipe, a luxury difficult to replace, is thrust

through a slit in the flap; his lank locks are dripping; the moisture

is concentrating, and dropping down his well-defined proboscis. Of

course it was necessary, in such an expedition, to bear the baggage

and incidental impedimenta. A box contains the artist's larder and

wardrobe; his saddle-bags hold the provisions of the hour; beside

him swing his tea-kettle and coffee-pot; his goodly sketch-book is

slung across his back, much as the observant traveller may have seen

canvasses strapped across the shoulders of pedestrian artists during

the season, and in the vicinity of Bettews, Conway and the Lluwy in our

day. The easel is folded up--and a vastly unwieldy affair it is--on the

back of the stumpy pony; brushes, a palette, knife, flasks of oil of

goodly proportions, and a palette of extensive dimensions, are attached

to the animal's neck; and thus equipped, the man of paint and his rough

steed are picking a devious way through the saturating moisture, up and

down the steep mountains of the country: a pleasant souvenir of past

hardships and discomforts by the way.

_February 18, 1799._ _Nautical Characters._

1. Cabin boy.

2. Sailor.

3. Marine.

4. Cook.

5. Midshipman.

6. Purser.

7. Lieutenant.

8. Captain.

9. Admiral.

10. Captain of Marines.

[Illustration: AN IRISH HOWL.]

_March 1, 1799._ _An Irish Howl._ Published for the _Anti-Jacobin

Review_ by T. Whittle, Peterborough Court, Fleet Street.--The month

following, the Irish patriots, and rebels alike, were favoured with

a view of their position, which was hardly more encouraging than the

pictorial prospect held out for the enlightenment of the Democrats at

home. A National Convention is supposed to have been assembled; the

members are thrown into consternation; and the table, round which they

have been deliberating over the concoction of their organ the _United

Irishmen_, is upset. A diabolical visitation is sufficient to account

for this confusion. A monstrous representative of the Fiend of Evil,

with formidable horns and claws, bearing a pitchfork over his shoulder,

and with the French cap of Liberty, labelled _Anarchy_, on his brow,

is intruding on the scene, with a masterpiece of his own preparation,

setting forth the tender fate which the Irish patriots were likely to

meet at the hands of their allies the Jacobins. _Le Tableau Parlant_

affects to portray an 'Irish Stew, a favourite dish for French

Palates.' The sons of Erin are, according to the canvas, thrust into

a 'Revolutionary Pot,' which is boiling over a fierce fire; certain

Jacobin French cooks, wearing the caps of Liberty, are thrusting their

betrayed disciples into the seething cauldron, '_Equality_, all to be

stewed _en masse_,' while another apostle of Freedom is clapping on

the lid: 'Liberty of being stewed!' The Arch-Deceiver, thrusting out a

forked tongue, is imparting his instructions: 'Stew it well; it cannot

be overdone for you and me!'

The United Irishmen are variously affected with despair at the probable

end of their plottings. One patriot, intended for Grattan, or O'Connor,

is exclaiming, 'My merits with the Republic should have saved me;

but I find we must all stew together!' A ragged Reformer is thrown

on his back; a bundle of pikes are at his feet; a case of _Radical

Reform_. A papist friar is crying: 'By St. Patrick, a complete Catholic

emancipation.' Others of the party are crushed. A legal gentleman

is moaning in despair: 'So much for Republicanism and glorious

independence! No money! No lawyer!' His neighbour cries: 'I now howl in

vain; we are all gone to pot!' Another patriot is thinking regretfully

of Ireland's proper and natural ally: 'Brother John would not have

treated us so! What your own O'Connor, too!' The Map of Ireland is

dragged to pieces, and dismantled by flying devils and imps of mischief

christened 'Tallien, Barras, Lepaux,' &c. One of the united brethren is

turning his eyes on the pitiful end of the Green Isle: 'Poor Erin, how

thou'rt torn to pieces by these five harpies!'

1799. _An Etching after Raphael Urbinas._ An example of Rowlandson's

powerful renderings of studies after the old masters, executed in a

bold and flowing manner.--The nude figure of a man, who has probably

been sleeping at the foot of a tree, has suddenly unfolded his cloak

and found himself confronted by a hissing serpent, which has raised

itself on its tail in readiness to attack the unprepared victim, whose

face is made to wear an expression of statuesque horror. A club is on

the ground at the feet of the man.

_Apollo, Lyra and Daphne._ Frontispiece probably to a book of

music.--Apollo, with his crook and shepherd's dog by his side, and with

sheep at his feet, is seated at the entrance to a wood. Several musical

instruments, bound together with ribands, are hung on the branch of

a tree over his head. On the other side of the picture is a nymph in

classic guise, evidently captivated with his harmonies; she is resting

her hand on the shoulder of a second listening maiden, dressed as a

shepherdess.

[Illustration: ST. GILES'S COURTSHIP.]

_April 10, 1799._ _St. Giles's Courtship._ Published by R. Ackermann,

101 Strand.

Here vulgar Nature plays her coarser part,

And eyes speak out the language of the heart,

While health and vigour swell the youthful vein,

To die with rapture, but to live again.

_April 10, 1799._ _St. James's Courtship._ Published by R. Ackermann,

101 Strand.

1799. _View of a Cathedral Town on Market Day_ (_Great Yarmouth_),

Rowlandson del. and sculp.

_May 10, 1799._ _Borders for Rooms and Screens._ Published by R.

Ackermann, 101 Strand. Woodward delin. Etched by Rowlandson. In

twenty-four sheets. Republished May 20 and August 1.

_June 20, 1799._ _Connoisseurs._ Published by T. Rowlandson, 1 James

Street, Adelphi.--The interior of a cabinet of choice works of art. On

an easel is displayed a florid and somewhat suggestive picture of

Venus and Cupid richly framed. An old connoisseur, with a glass to his

eye, and his three-cornered hat under his arm, is seated in an easy

elbow chair, critically examining the work in question. Three other

distinguished _dilettanti_ are peering over his back, and stretching

their noses as near as contrivable to the object of their gloating

admiration. All these amateurs have evidently called in to view the

collection, which includes an example after 'Susanna and the Elders,'

and kindred subjects.

_August 1, 1799._ _Horse Accomplishments._ Sketch 1. _A Paviour._

Woodward del., Rowlandson sculp. Published by R. Ackermann.

_August 1, 1799._ _Horse Accomplishments._ Sketch 2. _An Astronomer._

Woodward del., Rowlandson sculp. Published by R. Ackermann.

_August 1, 1799._ _Horse Accomplishments._ Sketch 3. _A Civilian._

Woodward del., Rowlandson sculp. Published by R. Ackermann.

_August 1, 1799._ _Horse Accomplishments._ Sketch 4. _A Devotee._

Woodward del., Rowlandson sculp. Published by R. Ackermann.--The

rider is somewhat inconvenienced by the eccentricities of his steed.

The horse is travelling in a somnolent condition, of which the

equestrian seems unconscious, as he is thus soliloquising over the

unusual proclivities of his _Rosinante_:--'This is certainly a very

devout animal; always on his knees; five times in a mile; constantly

worshipping something or other. What is he at now?'

_August 1, 1799._ _Waddling Out._ Woodward del., Rowlandson sculp.

Published by R. Ackermann.

_August 10, 1799._ _Comforts of the City: A Good Speculation._ No. 5.

Woodward del., Rowlandson sculp. Published by R. Ackermann, August 10,

1799.--A stout citizen is rejoicing over a fortunate investment.

_August 10, 1799._ _Comforts of the City: A Bad Speculation._ No. 6.

Woodward del., Rowlandson sculp. Published by R. Ackermann, August

10, 1799.--In this case the dabbler in novel ventures is looking very

blank and disconcerted, on the receipt of the information that his

very latest and most ingenious 'spec' does not promise to turn out

favourably, according to a communication he holds in his hand:--'I am

sorry to inform you that your scheme for manuring London with old wigs

will not do.'

[Illustration: PROCESSION OF A COUNTRY CORPORATION.]

_August 12, 1799._ _Procession of a Country Corporation._ H. Bunbury

del. Etched by Rowlandson. Published August 12, 1799, by T. Rowlandson,

James's Street, Adelphi.--Bunbury's pencil was never more happily

employed than when engaged in perpetuating the comicalities which he

noticed in the country; rustic simplicity, the pretensions of inflated

noodles, bumptious nobodies, and kindred absurdities, such as are

displayed in 'The procession of a Country Corporation,' wherein the

Aldermen and Mace-bearers, his worship the Mayor, with his chain, and

his dignified deportment, and his following of puffed-up provincial

big-wigs are shown filing in solemn state past the pump, the Town-hall,

and the stocks, to the Church vestry; the country clodhoppers and

honest children of the soil are gazing open-mouthed, over-awed by

the impressive nature of the ceremony, and the solemn airs of the

performers. Bathos is arrived at in a notice on the wall, past which

these 'hogs in harness' are strutting--'Ordered by the Mayor and

Corporation that no pigs be suffered to walk the streets. For every

offence the penalty of five shillings!'

_August 1799._ _A Game of Put in a Country Ale House._ G. M. Woodward

invt. Etched by T. Rowlandson. Published by R. Ackermann.

1799. _Bay of Biscay._ (See 1789.)

_September 3, 1799._ _Forget and Forgive, or Honest Jack shaking

hands with an old acquaintance._ Published September 3, 1799, by R.

Ackermann, 101 Strand.--The troops forming the British Expedition which

restored the Prince of Orange to his states are represented landing in

the Texel, and delivering the Dutch from the hands of their friends the

Sansculottes. Mynheer has become wretched and ragged under the French

régime; he is shaking a British tar by the hand, heartily delighted

to see a chance of recovering his freedom:--'Ah, Mynheer Bull, these

cursed French rats have gnawed us to the backbone; they have barely

left us a pipe, a drop of Hollands, or a red herring; oh, what a pretty

pickle have we brought ourselves into!' 'Well, Mynheer,' responds Jack

Tar, 'you seem heartily sick of fraternity: had you stuck to your old

friends instead of embracing your ragged relations, you might have

kept your gilders, saved your breeches, and preserved both states and

stadtholder.' A Dutch vrow is trampling her foot upon an order of the

French Convention:--'If any Dutch woman be detected in concealing any

part of her husband's private property, she shall be guillotined.'

She has secured a trifling comfort, a bottle of 'Hollands gin.' 'I

have had great trouble, Mynheer, to smuggle this bottle for you, those

French ragamuffins search me so close!' The troops forming the English

contingent are landing from their ships, and driving the French legions

before them at the point of the bayonet; the apostles of Liberty are

losing their requisitions, 'Ducats and gilders for the use of the

municipality;' they despair of converting their invaders: 'Here be dese

English Bull dog, dey be such stupid brute dat we cannot make them

comprehend the joys of Fraternisation!'

_September 20, 1799._ _The Irish Baronet and his Nurse._ ('Changed at

his Birth.') Woodward del. Etched by Rowlandson.

_October 1, 1799._ _The Gull and the Rook._ Published by Hixon, 155

Strand.

_October 1, 1799._ _The Crow and the Pigeon._ Published by Hixon, 155

Strand.

_October, 1799._ _Twopenny Whist._ Designed by G. M. Woodward. Etched

by T. Rowlandson. Published by R. Ackermann, 101 Strand.

_October 28, 1799._ _A Note of Hand._ Designed by G. M. Woodward.

Etched by Rowlandson. Published by R. Ackermann.--From Bunbury to

Woodward the change is easy. In all these renderings of the designs of

less skilful amateurs it must be remembered that Rowlandson's part was

not limited to that of a mere copyist of their ideas; he had to put

crude conceptions into a presentable shape, and in most instances he

has added points which originated in his own invention, and, as far as

execution is concerned, he has made the works mainly his own.

In the present caricature there is actually no indication of Woodward's

handiwork; a smart sailor of the period, returning to shore with

prize money galore, and a watch, chain, and seals in either fob, neat

silver shoe-buckles, and a spic-span rig-out, is calling to cash a

twenty-pound note on a banker, who is negligently looking at the

ceiling. The honest tar, who probably thinks the amount of the draft

he has to draw a veritable fortune, is evincing his consideration

for the man of finance--'I say, my tight little fellow, I've brought

you a Tickler! A draught for twenty pounds, that's all! But don't be

downhearted, you shan't stop on my account! I'll give you two days to

consider of it.'

1799 (?). _Legerdemain._--The subject owes its invention to the

observant humour of Henry Bunbury, the caricaturist of gentle birth,

who was ever a friendly ally of Rowlandson; while the latter has

lent his more trained skill to work out the conceptions of the

flattered amateur, further regarded, according to the views of his

contemporaries, as his distinguished patron. We are introduced in

'Legerdemain,' to the consulting room and operating surgery of certain

rustic practitioners, who combine the twin professions of dentists

and pedicures; teeth and corns being extracted promiscuously, as the

requirements of their patients might necessitate. Strength, rather than

skill, is the chief requisition, if we may trust the whimsicalities

of 'Legerdemain,' where main force directs the operations of the

performers. One sturdy tooth drawer is bringing his knee and all the

brute power at his command to bear in the way of leverage on the

refractory grinder of an unfortunate and distracted client; a hammer

and a pair of coarse pincers do not argue well for the painless

dentistry of the establishment. A squire, judging from the liveried

servant in attendance, is submitting his foot to another professor,

for the removal of an obstinate corn; the victim is thrown into

paroxysms of agony by the forcible mode of procedure adopted: the rude

chiropedist has seized the sufferer's foot securely under his arm,

and is dragging away with such vigour that, if the corn will not be

persuaded to come off decently, the toe will be dragged out by the

roots--the latter a most undeniable method of permanent cure so far as

corns are concerned.

_November 1, 1799._ _March to the Camp._ Published by T. Rowlandson, 1

James Street, Adelphi.

_November 1, 1799._ _Good Night._ Woodward del. Etched by Rowlandson.

Published by R. Ackermann, 101 Strand.--A gentleman in the last

stage of sleepiness with his nightcap on his head, and his

chamber-candlestick flaring away--he is yawning like a cavern, and

stretching his arms as if heavy with slumber. The expression is

realistically conveyed.

[Illustration: A BANKRUPT CART, OR THE ROAD TO RUIN IN THE EAST.]

_November 5, 1799._ _A Bankrupt Cart, or the Road to Ruin in the East._

Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101

Strand.--The fortunate possessor of that dubious vehicle, 'a Bankrupt

cart,' is proceeding in state past his own premises with his chin in

the air; the showy wife of his bosom in feathers and finery is riding

by his side, and their children are packed in sandwich fashion. A

follower, who is probably a drayman, put into livery for the occasion,

and mounted on one of the horses used in the business, is grinning

at the high and mighty dignity assumed by his employers. A news boy

is blowing his horn in the averted faces of the party, offering the

_London Gazette_, which contains the objectionable black list of

bankruptcies, wherein, it is hinted, the name of 'Mash, Brewer,'

figures conspicuously. Puddle Dock is the scene of this exposure, and

the brewery is posted with advertisements, which indicate the sudden

downfall of fashionable ambition: 'A house to be let in Grosvenor

Square, suitable for a genteel family,' and 'Theatre Royal, Covent

Garden, _The Comedy of the Bankrupt_, with _High Life Below Stairs_.'

_November 5, 1799._ _A Dasher, or the Road to Ruin in the West._ G. M.

Woodward del. Etched by T. Rowlandson. Published by R. Ackermann.

1799 (?). _Loose Thoughts._--A reclining female figure, lightly

attired, and gracefully posed, buried in romantic creations of the

imagination.

_The Bookbinder's Wife._--Somewhat similar to the taste of the

preceding. The nude figure of a lady toying with her infant: these

subjects, which are avowedly of a slightly suggestive character, are

handled with a grace and refinement which goes a long way to redeem the

free nature of the subjects.

1799 (?). _The Nursery._--A domestic subject; a gracefully posed female

figure and two infants.

1799 (?). _A Freshwater Salute._--The occupants of two waterside crafts

are exchanging courtesies on the river, a more frequent occurrence at

the beginning of the century, when figures of speech, especially among

'waterside loafers,' were more forcible than refined. The boatmen in

the respective wherries are bawling at one another, and a stout damsel

is extending, in expressive pantomime, an invitation which has shocked

the proprieties of the occupants of the other craft, a lady of _ton_ in

a gay hat and feathers, and a very prim old gentleman, who is looking

perfectly rigid with horror and indignation.

1799 (?). _Ride to Rumford._--'Let the gall'd jade wince.' A stout

equestrienne has put up her steed at the shop of an apothecary,

who combines the profession of veterinary surgeon: the venerable

practitioner, with spectacles on nose, is preparing a diaculum plaister

for the scarified horsewoman.

1799 (?). _City Fowlers--mark._ H. Bunbury del., Rowlandson sculp.

Against the wind he takes his prudent way,

Whilst the strong gale directs him to the prey;

Now the warm scent assures the covey near,

He treads with caution and he points with fear.--GAY.

1799 (?). _The City Hunt._ H. Bunbury del., Rowlandson sculp.--This

scene of cockney horsemanship is suggestive of the learned lectures

of Geoffrey Gambado, Esq., Riding Master to that authority on

equestrianism, the Doge of Venice. It is a question which are the more

extraordinary animals, the mounted citizens or their horses; all is

grotesque and burlesque. Of course fat men are shown tumbling off and

over their steeds; and with equal propriety, a brook is introduced, in

which to deposit the unfortunate leapers. Various curs have come out to

share the run, and among the most spirited riders may be distinguished

a brace of black chimney-sweeps, fraternally perched astride the single

donkey possessed by the firm.

1799 (?). _Une Bonne Bouche._--A stout gourmand impaling an entire

sucking-pig on a fork.

1799 (?). _Cits airing themselves on Sunday._ H. Bunbury del.,

Rowlandson sculp.--A lady and gentleman are enjoying an equestrian

promenade, too busily engaged in flirting to notice that their horses

are riding over some wandering pigs. A Jew is in a chaise, taking his

pleasure in the air; the fair Jewess, his wife, is driving, the rest

of their family are by their side. A stout elderly volunteer in his

uniform is out for exercise and relaxation, mounted on a heavy horse

from the cart, ridden with blinkers.

1799 (?). _A Militia Meeting._--The original suggestion for this

subject, which bears Rowlandson's name, is, with several other

small etchings, belonging to the same series, due to Henry Bunbury;

it represents a 'justice's parlour,' filled with local magnates,

who are seated in council on the momentous militia question. The

characteristics of the various personages are individualised with the

sense of humour and that power of hitting off quaint expressions with

which both Bunbury and Rowlandson were gifted in the highest degree.

1799 (?). _A Grinning Match._--The companion print to _A Militia

Meeting_, executed under the same auspices. A party of rustics, whose

rude features are more rudely burlesqued, are grouped around a barrel

to assist at a competitive exhibition of 'face-making.' The challenge

runs thus: 'A gold ring to be grinned for; the frightfullest grinner

to be the winner.' Mounted on a tub is one of the champions, round his

head is the traditional setting of a horse collar, and he is succeeding

in making the most fearful grimaces, to the consequent delight of the

spectators.

[Illustration: DISTRESS.]

1799 (?). _Distress_, (18 inches by 12-5/8,) _from an Original Drawing

by Thomas Rowlandson_.--Published by Thomas Palser, Surrey side,

Westminster Bridge.--That Rowlandson possessed a remarkable power

of grasping the humorous side of life was generally acknowledged in

his own day, and is now well established, time having confirmed the

justness of his title to a lasting reputation; indeed, his works in

this order have long received a recognition which is more assured than

has been accorded to those of his contemporaries. It may, however,

be pointed out, with equal sincerity, that his conception of the

terrible is even more remarkable than his facility for expressing

the whimsical frivolities of society. It would be difficult to find

a more realistic representation of the horrors of shipwreck than the

appalling scene pictured under the title of 'Distress.' The fearful

sufferings of the survivors, exposed without sustenance to the dangers

of the deep, and the hopelessness of any chance of rescue, are all

simply set forth with intense feeling, and a faithful perception of

the horrors of the situation which is harrowing to examine, although

it is evident that the terrors of the subject must have exercised a

certain fascination over the mind of the delineator. It seems clear

that portions of a crew have escaped the loss of their vessel only

to become the powerless victims of more insupportable sufferings. A

solitary officer and several of the crew are crowded into a boat,

which they have no means of properly navigating. Provisions and water

are evidently wanting; the horizon is a blank, the sea is still running

high, and the sky threatens further tempests. Hunger, thirst, and

exposure, are reducing the ocean waifs to madmen; while some are in

paroxysms, others are stiffening corpses, and the body of one sufferer

is about to be cast into the waters to lighten the freight; some are

sunk in blank indifference or imbecile despair; others are furious, one

or two are looking for help from above, and a few, among them the young

officer and the boatswain, are doing their best to steer the open and

over-laden boat towards a likely course. The cabin boy's distress is

rendered with peculiar pathos.

1799. _Hungarian and Highland Broadsword Exercise._ Twenty-four

plates, designed and etched by Thomas Rowlandson, under the direction

of Messrs. H. Angelo and Son, Fencing-masters to the Light Horse

Volunteers of London and Westminster. Dedicated to Colonel Herries.

Oblong folio. London. Published, as the Act directs, February 12, 1799,

by H. Angelo, Curzon Street, Mayfair.--Engraved Title and Frontispiece.

A tablet topped by the figure of Fame and supported by a relievo

representing Guards on the march; below it a trophy, and the escutcheon

of the corps. On either side an archway or portico, with relievo

tablets above, representing military scenes. On guard and saluting,

on the left, is a Light Horse Volunteer of London and Westminster; on

the right is one of the same corps dismounted, presenting arms. The

etchings are dated September 1, 1798. The subjects are executed with

considerable dash and spirit. The major part of the plates represent

movements of cavalry, depicted with knowledge and power; instead

of being, as the titles of the illustrations would indicate, mere

definitions of the positions assumed in the exercises, the artist has,

with superior ingenuity and ability, managed to produce a lively series

of military tableaux filled with appropriate actions, in which bodies

of troops, reviews, incidents of war, engagements of large parties,

assaults, repulses, and other military demonstrations, make up the

backgrounds, and convert a set of plates of mere broadsword exercises

into an animated and interesting collection of warlike pictures.

Judging from the lengthy subscription list appended to the folio, these

plates must have enjoyed a wide popularity, secured under the auspices

of the Angelos, whose acquaintances amongst the fashionable world

enabled them to obtain a satisfactory array of patrons and subscribers.

The subjects are as follows:--

Prepare to guard.

Guard.

Horse's head, near side, protect.

Offside protect, new guard.

Left protect.

Right protect.

Bridle arm protect.

Sword arm protect.

St. George's guard.

Thigh protect, new guard.

Give point, and left parry.

Cut one, and bridle arm protect.

Cut two, and right protect.

Cut one, and horse's head, near side, protect.

Cut six, and sword arm protect.

Cut two, and horse's off side protect, new guard.

Cut one, and thigh protect, new guard.

On the right to the front, parry against infantry.

_Infantry._

Outside guard; St. George's guard. Inside guard.

Outside half hanger. Hanging guard. Inside half hanger.

Half-circle guard. Medium guard.

The consequence of not shifting the leg.

The advantage of shifting the leg.

1799. _Loyal Volunteers of London and Environs._--Infantry and cavalry

in their respective uniforms. Representing the whole of the Manual,

Platoon, and Funeral exercises in eighty-seven plates. Designed and

etched by Thomas Rowlandson. Dedicated by permission to His Royal

Highness the Duke of Gloucester. Engraved title-page; inscription in a

lozenge; head of Mars above; Mercury's caduceus and branches of laurel;

Cupid-warrior, and Cupid-justice with scales and sword, supported by a

trophy of arms, accoutrements, &c. Dedicatory title.--This illuminated

School of Mars, or review of the Light Volunteer corps of London and

its vicinity, is dedicated by permission to His Royal Highness the

Duke of Gloucester by his most obliged and very humble servant, R.

Ackermann, 101 Strand. August 12, 1799.

LIST OF SUBJECTS.

_Infantry._

PLATE. POSITION.

1. St. James's Volunteers _Stand at ease._

2. The Royal Westminster

Volunteers _Attention._

3. Broad Street Ward Volunteers _Fix bayonets, 1st motion._

4. St. Mary, Islington,

Volunteers " _2nd_ "

5. St. Mary-le-Strand and

Somerset House Volunteers _Fix bayonets, 3rd motion._

6. London and Westminster Light

Horse Volunteers (Dismounted) _Shoulder arms, 1st motion._

7. St. Clement Danes Volunteers " _2nd_ "

8. Bloomsbury and Inns of Court _Recover arms._

Volunteers

9. St. George's, Hanover Square, _Shoulder arms (from recover),

Light Infantry 1st motion._

10. St. George's, Hanover Square,

Volunteers _Charge bayonet, 2nd motion._

11. St. Martin's in the Fields

Volunteers " _1st_ "

12. Temple Bar and St. Paul's

Volunteers

(Loyal London Volunteers) _Present arms, 1st motion._

13. Cornhill Association

Volunteers " _2nd_ "

14. Temple Association Volunteers " _3rd_ "

15. Bethnal Green Volunteers,

Light Infantry (Mile End

Volunteers) _Support arms, 1st motion._

16. Bethnal Green Battalion

Volunteers " _2nd_ "

17. Hans Town Association

Volunteers _Stand at ease, supporting arms._

18. Deptford Volunteer Infantry _Slope arms._

19. Loyal Westminster Light

Infantry _Order arms, 1st motion._

20. The Hon. Artillery Company of

London " _2nd_ "

21. Pimlico Volunteer Association _Unfix bayonets, 1st motion._

22. Richmond Volunteers " _2nd_ "

23. Covent Garden Volunteers " _3rd_ "

24. Three Regiments of Royal East

India Volunteers _An officer saluting._

25. Bishopsgate Volunteers _Handle arms._

26. Brentford Association _Ground arms, 1st motion._

27. Fulham Association " _2nd_ "

28. St. Andrew, Holborn, and

St. George the Martyr

Military Association " _3rd_ "

29. Castle Baynard Ward

Association Volunteers _Secure arms, 1st motion._

30. Finsbury Volunteers " _2nd_ "

31. Newington, Surrey, Volunteer

Association " _3rd_ "

32. Knight Marshal's Volunteers _Prime and load, 1st priming

motion, front rank._

33. Guildhall Volunteer

Association, " _2nd_ " "

34. Cheap Ward Association " _3rd_ " "

35. Armed Association of St.

Luke, Chelsea " _4th_ " "

36. Marylebone Volunteers " _5th_ " "

37. Coleman Street Ward Military _Prime and load, 6th priming

motion, front rank._

38. St. Pancras Volunteers " _7th_ " "

39. Cordwainers' Ward Volunteers " _1st loading

motion._

40. St. Margaret and St. John,

Westminster, Volunteer

Associations " _2nd_ "

41. Lambeth Loyal Volunteers " _3rd_ "

42. St. George's, Southwark,

Loyal Volunteers " _4th_ "

43. St. Saviour's, Southwark,

Association " _5th_ "

44. St. Olave's, Southwark,

Volunteers " _6th_ "

45. Poplar and Blackwall

Volunteers " last motion.

46. Sadler's Sharpshooters _A Light Infantry Man defending

himself with Sadler's patent gun

and long,cutting bayonet._

47. Radcliff Volunteers _Make ready, front rank._

48. Union, Wapping, Volunteers _Present_ "

49. Loyal Hackney Volunteers _Fire_ "

50. Bermondsey Volunteers _Front rank kneeling, make ready._

51. Loyal Volunteers, St. John's,

Southwark _Present (as front rank kneeling)._

52. Langbourn Ward Volunteers _Prime and load (as a centre

rank)._

53. St. George's, Hanover Square,

Armed Association _Make ready (as a centre rank)._

54. St. Sepulchre (Middlesex)

Volunteers _Present_ "

55. Farringdon Ward Within

Volunteers _Prime and load (as a rear rank)._

56. Aldgate Ward Association _Make ready_ "

57. Walbrook Ward Association _Present_ "

58. Clerkenwell Association _Advance arms._

59. Royal Westminster Grenadiers " _4th motion._

60. Bread Street Ward Volunteers _Shoulder arms, from advance

1st motion._

61. Vintry Ward Volunteers _Club arms, 1st motion._

62. Portsoken Ward Volunteers " _2nd_ "

63. St. Catherine's Association " _3rd_ "

64. Farringdon Ward (Without)

Volunteers " _4th_ "

65. Bridge Ward Association _Mourn arms, 1st motion._

66. Tower Ward Association " _2nd_ "

67. Christ Church (Surrey)

Association " _3rd_ "

68. Loyal Bermondsey Volunteers _Present arms, 1st motion from

mourn arms._

69. Billingsgate Association " _2nd_ " "

70. Highland Armed Association _An officer._

71. The Armed Association of

St. Mary, Whitechapel _Present arms, 2nd flugel motion._

72. Bank of England Volunteers,

Light Infantry _Order_ " "

73. Candlewick Ward Association _Support arms, 1st_ "

74. Queenhythe Ward Volunteers _A sergeant with arms advanced._

75. Ward of Cripplegate (Without)

Volunteers. _Order arms._

76. Dowgate Ward Volunteers "

77. Mile End Volunteers _Pile arms._

78. St. Leonard, Shoreditch,

Volunteers "

79. Trinity, Minories,

Association "

_Cavalry._

1. London and Westminster Light Horse Volunteers.

2. Surrey Yeomanry.

3. Deptford Cavalry.

4. Westminster Cavalry.

5. Middlesex Cavalry.

6. Southwark Cavalry.

7. Clerkenwell Cavalry.

8. Lambeth Loyal Cavalry.

9. Loyal Islington Volunteer Cavalry.

END OF THE FIRST VOLUME.

LONDON: PRINTED BY

SPOTTISWOODE AND CO., NEW-STREET SQUARE

AND PARLIAMENT STREET

* * * * *

INDICES.

INDEX OF NAMES, PERSONS, &c.

Ackermann, Rudolph (Rowlandson's publisher), i. 85, 89-93

Ackermann's _Poetical Magazine_, i. 33

Addington, Hon. H., 'The Doctor,' i. 246

Alexander, Emperor of Russia, ii. 281, 294

Angelo, Henry, 'Reminiscences,' i. 55, 64-6, 68, 70-2, 78-9, 85, 87-8,

287, 298-300, 374; ii. 5

Angelo's Fencing Rooms, i. 241

Angelo and Rowlandson at Vauxhall, i. 62-3, 156

-- and Son, Hungarian and Highland Broadsword Exercise, i. 374

-- Henry, his sketch of Simmons, the Murderer, ii. 81

Anstey, Christopher, 'Comforts of Bath,' i. 333-49

Arnold, General, i. 173

Atkinson, Christopher, i. 143-4

Auckland, Lord Eden, i. 173

Austria, Emperor of, ii. 281

Austria, Crown Prince of, ii. 281

Banco to the Knave (Gillray), i. 106

Banks, Sir Joseph, i. 192

Bannister, the Comedian, a Collector, i. 70; ii. 248

-- John, the Comedian, an Art Student, i. 53-4

Barrymore, Lord, i. 58, 161-2, 303

Bate, Dudley, of the _Morning Post_, i. 159

Bates, William, B.A., 'Sketch of Rowlandson's Works,' 'Essay on George

Cruikshank,' ii. 379

Bedford, Duke of, i. 359

Bell, Dr., ii. 216

Beresford, James, ii. 178

Billington, Mrs., i. 158

'Black Dick' (Lord Howe), i. 199

'Blackmantle,' Bernard (pseudo), i. 43; ii. 375, 378-9

Blair, Doctor Hugh, i. 198

Blucher, Prince von, ii. 278-9, 280-1, 293-5

'Book for a Rainy Day,' J. T. Smith, i. 70

Borowloski, Count, 'The Polish Dwarf,' i. 186

Bossy, Doctor, ii. 5

Boswell, James, i. 193-8

Boswell's 'Tour to the Hebrides,' i. 84, 193-8

Buonaparte, the Emperor Napoleon, ii. 42-3, 45, 47, 52, 54, 61, 82-3,

93-102, 130, 159, 162-3, 187, 203-4, 255, 258-64, 271-2, 276-82,

289, 291-3

-- Joseph, King of Spain, ii. 95-6, 98-101

-- Louis, King of Holland, ii. 97, 258-9

Buonaparte's Generals, ii. 291

Brightelmstone in 1789, i. 277

Britannia, 117, 136, 141-2, 247; ii. 6

Buckingham, Marquis of, i. 243

Bullock, Proprietor of 'Bullock's London Museum,' ii. 309

Bunbury, Henry, the Caricaturist, i. 61, 78-80, 369

-- the Caricaturist (illustrated biographical sketch of his life by

Joseph Grego), i. 3

-- Henry, Caricaturist (Gambado's 'Annals of Horsemanship and Academy

for Grown Horsemen'), i. 352-3; ii. 101-15, 217, 221-3

Burdett, Sir Francis, i. 359; ii. 74, 181-2, 184, 365

Burke, Hon. Edmund, i. 112, 118-19, 220, 245, 248, 274, 289; ii. 13

Burton, Alfred, 'Adventures of Johnny Newcome in the Navy,' ii. 363-4

Bute, Lord, i. 141

Butler, S., ii. 174, 198

Camden, Lord, i. 244

Canning, George, verses on 'All the Talents,' ii. 69

Canning, George, ii. 166

Carmarthen, Marquis of, i. 244, 248

Cartright, Major John, i. 121

Castlereagh, Lord, ii. 166

Catalini, Madame, ii. 165

Catharine, Empress of Russia, i. 290

Chambers, Sir William (architect of Somerset House), ii. 217

Charles the Fourth, King of Spain, i. 290, 292; ii. 94

Charlotte, Queen, i. 110, 199-210, 220, 228, 230, 252, 290

Chatham, Lord, i. 244

-- General, ii. 164, 166

Chattelier, Miss (Rowlandson's aunt), i. 52, 63-4

Chiffney (jockey to the Prince of Wales), i. 207

Clarke, Mrs. Mary Anne, ii. 135-64, 166, 181

-- Scandal, The, i. 28; ii. 135-64, 181

Clavering, General, ii. 143

Coleraine, Lord, i. 180, 220, 229. (_See_ Hanger)

Collections of Rowlandson's drawings, i. 5. Appendix

Collings, the Caricaturist, i. 82-4, 191, 193

Combe, William, ii. 247, 268, 317-55, 359-62, 271-2

-- -- (author):

'The Three Tours of Doctor Syntax,' ii. 176, 247-52, 266-7, 269-70,

367, 373, 375

'The Dance of Death,' ii. 317-15

'The Dance of Life,' ii. 359-62

'The History of Johnny Quæ Genus,' ii. 371-2

Corbett, Thomas, High Bailiff for Westminster, ii. 140, 153-4

Cornwall, Views in, ii. 56

Cross Reading (Whiteford's), i. 84

Cruikshank, George, caricaturist, i. 16-19

Cumberland, Duke of, ii. 225

Curtis, Commodore, ii. 163-4

Davy, Sir Humphrey, ii. 366

Derby, Lord, i. 359

Devonshire, Duchess of, i. 124, 126-9, 131-2, 135, 141-2, 152, 158;

ii. 59

Didelot, dancer, i. 283

Don Carlos, ii. 94

Duncannon, Lady, i. 135, 141, 158

Dundas (Lord Melville), i. 121, 134, 243-4, 246; ii. 49-51, 60, 136

Dundas, Sir David, ii. 137

Dunthorne, James, i. 226-7, 314

Elliot, Right Hon. Hugh, English Minister at Dresden, ii. 311

Engelbach, Lewis, 'Letters from Italy, or Naples and the Campagna

Felice,' ii. 267, 301-8

English Caricaturists, i. 2

'English Spy, The,' by 'Bernard Blackmantle,' i. 43

Erskine, Lord, i. 112, 359

'Farquhar,' Ferdinand (pseudo), 'Relics of a Saint,' ii. 317

Ferdinand of Spain, ii. 93

Fielding's 'Tom Jones,' ii. 55-6

Fitzgerald, Mr., i. 161

Fitzherbert, Mrs., i. 170, 220, 226, 248, 276

Fox, Hon. Charles James, ii. 49, 58-61, 109, 112-13, 116-17, 119,

123-7, 129, 131-5, 138-43, 154, 221, 231-2, 245, 248, 270, 359

Fox, General, i. 117

Frederick the Great, i. 182-3

French Ambassador, The, i. 147

Gambado, Geoffrey (pseudo Henry Bunbury), 'Academy for Grown

Horsemen,' i. 352-3

-- -- 'Annals of Horsemanship,' i. 352; ii. 102-15

George the Third, i. 115, 119, 140-1, 182-3, 199-210, 220, 228-9, 248,

251-2, 290, 360; ii. 6, 59, 82, 196

Gillray, the Caricaturist (his life, works, and times, by Joseph

Grego), i. 3-4, 54, 106, 143, 229, 242, 328; ii. 197, 223

Gloucester, Duke of, i. 328

Goldsmith, Oliver, 'The Vicar of Wakefield,' ii. 356-9, 375

Gordon, Duchess of, i. 126, 152

Grafton, Duke of, i. 244, 246-8

Grattan, i. 250, 362

Grego, Joseph:

'An Illustrated Biographical Sketch of Bunbury, the Caricaturist,'

i. 3

'The Works of James Gillray, with the Story of his Life and Times,'

i. 3-4

'A Collection of Drawings by Rowlandson.' Appendix

Grenville, i. 244

-- Lord, ii. 59

Guise, General, his collection of pictures at Oxford, ii. 66

Hadfield. Attempted the life of the King, ii. 6

Hamilton, Sir William, Ambassador at Naples, ii. 311-13

-- Lady, ii. 311-13

Hanger, George, i. 180, 220, 229. (_See_ Coleraine.)

Harrison, W. H., 'The Humourist,' ii. 380-6

Hartley, Mrs. (actress), i. 160

Hastings, Warren, i. 226, 230

-- Marquis of, ii. 299

Haydon, B. R., ii. 378-9

Heath, James, i. 85

-- -- letter to, written by the Caricaturist, ii. 48

Hebrides, Boswell's Journal of a Tour in the, i. 193-8

Heywood ('Old Iron Wig'), i. 70

'Historical Sketch of the Art of Caricaturing,' by J. P. Malcolm,

F.S.A., i. 73-6

'History of Caricature and the Grotesque in Literature and Art,'

i. 3, 76

Hobart, Hon. Mrs. (Lady Buckinghamshire), i. 127, 129-30, 134

Holland, Lord, i. 289

Holman, the actor, i. 165, 190

Hood, Admiral Lord, i. 121, 124, 127, 133, 228

Hook, Theodore, 'Chacun à son Goût,' i. 67

Hooper, the boxer, i. 162

Horne-Tooke, John, i. 327, 359; ii. 74

House, Sam, i. 98-9, 108, 129, 131, 138-9

Howe, Lord, i. 67-8, 199

Howitt, the artist, Rowlandson's brother-in-law, i. 50

John Bull, ii. 42, 43, 47, 50-1, 58, 60-1, 75, 82-3, 93, 101, 130, 159

Johnson, Samuel, LL.D., i. 193-8

Junot, General, ii. 101, 204

Kemble, John Philip, ii. 46, 165

Kent, Duke of, ii. 141-4

King of Prussia, The, i. 182-3

Kingsbury, Caricaturist, i. 242, 290

Knight (Miss Cornelia), authoress, ii. 311-12

Lambert, Daniel, ii. 59-60

Leicestershire Giant, ii. 59-60

Leinster, Duke of, i. 249, 251

Life of Henry Bunbury, the Caricaturist, i. 4, 75-9

Lonsdale (Earl of), i. 136-7

Lord Howe's Action, i. 67-8

Lothian, Marquis of, i. 249, 251

Louis XVI. of France, i. 274, 290

-- XVIII. of France, ii. 292, 295

Lowther, Sir James, i. 136

Loyal Volunteers of London and Environs, i. 375

Lunardi, Vincent, i. 163-4

Malcolm, J. P., F.S.A., 'Historical Sketch of the Art of

Caricaturing,' i. 75-6; ii. 184

Manners, Lord Charles, ii. 215-16

Melville, Lord (_see_ Henry Dundas), ii. 49-51, 60-1, 75

Memoirs of John Bannister, Comedian, i. 47

Mitchell, the Banker, i. 68, 71, 85

Moira, Lord, embarkation for _La Vendée_, i. 68

Morland, George, the Artist, i. 86-7, 239

-- -- Portrait of, by Rowlandson, i. 86; ii. 229, 330

Moser, Michael, Keeper at Somerset House, i. 53

Mulgrave, Lord, ii. 166

Munro, Doctor, i. 124

National Collections of Caricatures, i. 5; ii. Appendix.

Nelson, Admiral Lord, i. 350; ii. 52, 54, 311-13

'Newcome, Johnny' (pseudo), Military Adventures of, ii. 298

Ney, Marshal, ii. 291, 293

Nicols, John, Editor of the _Gentleman's Magazine_, i. 282

Night Auctions, i. 70

Nixon, Henry, the Facetious, i. 82-3; ii. 26, 66

Nollekens, J., Artist, ii. 16, 19

Norfolk, Duke of, i. 359

North, Lord, i. 105-6, 108, 112-13, 116, 119, 124-5, 142, 220

O'Connor, i. 364

O'Kelly, Colonel, i. 259-60

O'Meara, Dr., 146, 155

Orleans, Duke of, i. 252-3, 248, 274

Pacchierolti, i. 98

Paoli, General, i. 193

Papworth, J. B., ii. 268

Parsons, the Comedian, i. 70

Paul, Emperor of Russia, ii. 28-9

Perdita, i. 159

Perry, James, of the _Morning Chronicle_, i. 159

Petersham, Lord, ii. 225

Petty, Lord Henry, ii. 58-60

Picturesque Beauties of Boswell, i. 193-8

'Pindar, Peter,' Trick played off on, i. 71-2

-- -- i. 97, 143, 187-8, 192, 200, 210, 361; ii. 13, 217

Pitt, Hon. William, i. 115, 117, 119, 121, 123, 221, 226, 230, 231-2,

243-8, 360; ii. 22, 28, 49, 50

Pomfret, Lord, ii. 225

Pope Pius the Sixth, i. 290

-- -- the (Pius VII.), ii. 44, 51, 163, 204

Portland, Duchess of, i. 124

-- Duke of, i. 289

Potemkin, i. 292

Priestly, Dr., i. 272

Prince of Wales, i. 110, 132, 140, 152, 159, 170, 220, 226, 229-31,

243, 246-7, 248, 251, 274, 290, 298, 303

-- Regent, ii. 294

Prussia, King of, i. 292

Pugin's 'Microcosm, or London in Miniature,' ii. 125-8

Pyne, W. H. (_Ephraim Hardcastle_), 'Wine and Walnuts,' i. 55-6

-- -- -- _Somerset House Gazette_, i. 55, 57-8, 69

Queen Charlotte, i. 110, 199-200, 220, 228

Queen of Spain, ii. 93

Quirk (Boxer), ii. 226

'Quiz' (pseudo), 'The Grand Master, or Qui Hi in Hindostan,'

ii. 299-301

Ramberg, Caricaturist, i. 223, 225

'Remarks on a Tour to North and South Wales in the Year 1797,'

ii. 19-21

Richmond, Duke of, i. 183, 231, 243-4, 246-8

Robinson, Jack, i. 117-18

-- Mrs., i. 159

Romney (the Painter), ii. 311

Ron, Baron (Quack Dentist), i. 211

Roscius, the Infant, ii. 46

Rosedale, John (Mariner), exhibitor of the pictures at Greenwich

Hospital, ii. 71

Rowlandson, Thomas (the Caricaturist), i. 239, 360

-- a student at the Royal Academy, i. 53

-- Academy drawings, i. 22-3

-- and Napoleon, i. 27-8

-- as a landscape artist, i. 14

-- as a marine artist, i. 18

-- as a portrait painter, i. 13

-- at Portsmouth, i. 67

-- biographical references to, i. 54-5

-- book illustrations, i. 35-45

-- chronological summary of his caricatures, ii. 389. (_See_ 4)

-- Continental tours, i. 59, 68-9; ii. 330-1

-- contributions to the Royal Academy, i. 50-65

-- collections of drawings by, ii. Appendix

-- Department of Prints and Drawings, British Museum, ii. Appendix

-- South Kensington Museum, ii. Appendix

Rowlandson, Dyce Collection, South Kensington Museum, ii. Appendix

-- -- at Windsor Castle, ii. Appendix

-- early caricatures, i. 22

-- engraved works, i. 23-30

-- family, the, i. 49-51

-- fortune bequeathed the Caricaturist, A, i. 64

-- gambling proclivities, i. 64

-- _Gentleman's Magazine_, the, obituary notice, i. 55, 94-5

-- George Cruikshank on Rowlandson, i. 16-19

-- his first visit to Paris, i. 52

-- his friends, i. 60-2

-- his publishers, i. 6

-- his schoolfellows, i. 51

-- Illustrations to 'The Tour of Dr. Syntax in Search of the

Picturesque,' ii. 176, 247-52, 266-7, 269-70, 367, 373, 375

-- -- 'The World in Miniature,' ii. 312-17, 362

-- -- 'The English Dance of Death,' ii. 317-55

-- imitations of the drawings of contemporary artists, i. 151