A Jessamy. A Choice Spirit.
A Jemmy. A Buck.
An Honest Fellow. A Blood.
1791.
Mar. 1. The Pursuit. (Chase of a Highwayman by a _possé_
of horsemen.) A large and important subject.
Companion to 'The Attack,' published contemporaneously,
and described in vol. i. p. 289.
Dec. 1. Returning from the Races.
1. Selling a Horse.
1. Modish--Prudent. (Another version of the pair
of female figure subjects engraved 1787. See
vol. i. pp. 220-1.)
1792.
Jan. 1. A series of four large sporting subjects, figures in
wooded backgrounds. Painted by George Morland,
and engraved by Thomas Rowlandson.
Partridge-Shooting.
Pleasant-Shooting.
Snipe-Shooting.
Duck-Shooting. (Originally pub. in 1790.)
July 18. The Paviour's Joy. Companion to 'The Chairman's
Terror' (vol. i. p. 308).
1794.
A Field Day in Hyde Park. Aquatinted by T. Malton. A large and
important subject, evidently belonging to the same series as 'The
English Barracks,' &c. (Aug. 12, 1791). See vol. i. pp. 294-5.
1795.
Jan. 1. Billingsgate Brutes.
1797.
Oct. 22. Glorious Defeat of the Dutch Navy, Oct. 10,
1797, by Admirals Lord Duncan and Sir Richard
Onslow; with a view, drawn on the spot, of the
six Dutch line-of-battle ships captured and
brought into Yarmouth. Pub. by T. Rowlandson,
1 James Street, Adelphi.
1798.
Mar. 16. England Invaded, or Frenchmen Naturalised
(Loyal Volunteers). Pub. by I. Harris.
Apr. 3. A Return from a Visit. (After H. Bunbury.)
May 15. Military Fly. (See 'Loyal Volunteers of London,'
June 20, 1799, vol. i. pp. 375-7.)
May 18. Rehearsal of a French Invasion, as performed before
the Invalids, at the Island of St. Marcou, on the
morning of ye 7 of May, 1798. Pub. by R. Ackermann.
June 1. Soldiers Attending Divine Service. (The Invasion
Panic and Volunteer forces.)
Aug. 8. Smuggling In--Smuggling Out. (See 1810.)
18. The Miller's Love.
Sept. 3. Sadler's Flying Artillery. (See 'Loyal Volunteers
of London,' June 20, 1799, vol. i. pp. 375-7.)
Oct. 9. Fraternization in Grand Cairo, or the Mad General
and his Boney-party likely to become tame
Mussulmen. Pub. by R. Ackermann.
17. Erin-go-Bray. The Allied Republics of France
and Ireland. Pub. by S. W. Fores.
Nov. 1. Effects of British Valour on the French Directory.
Pub. by R. Ackermann.
1799.
Jan. 20. A Magic Lantern. Merke sculp.
Mar. 1. Cries of London. Pl. 7. Old Clothes. (See 'Cries
of London,' vol. i. pp. 354-6.)
20. Fast Day. Pub. by T. Rowlandson, 1 James
Street, Adelphi.
Aug. 1. Change Alley. No. 1. Waddling In. (See 'Waddling
Out,' vol. i. p. 366.)
Horse Accomplishments.--A Vaulter. (See 'Horse
Accomplishments,' vol. i. p. 366.)
30. Country Characters. Republished 1800. (See
vol. ii. pp. 13, 14.)
Oct. 1. Matrimonial Comforts. Republished 1800. (See
vol. ii. pp. 14-16.)
28. Sailor and Banker, or the Firm in Danger. (See
'A Note of Hand,' vol. i. p. 369.)
Dec. 20. The Monkey Room in the Tower. Pub. by R.
Ackermann.
Connoisseurs of Art.
Slaverers.
O Tempora, O Mores! S. Alken fecit.
1800.
Jan. 1. Preparing to Start. (See vol. ii. p. 222.)
The Race and the Course. Companion.
Buck's Beauty and Rowlandson's Connoisseur.
Pub. by W. Holland.
21. Titlepage to series of twenty subjects.
LE BRUN TRAVESTIED, or Caricatures of the
Passions. Designed by G. M. Woodward. Etched
by T. Rowlandson. Pub. by R. Ackermann.
No. 3. Admiration.
('Hatred or Jealousy' should be numbered 19. See
vol. ii. pp. 1, 2.)
Aug. 15. Shaving a Forestaller.
The Tinker.
Swinging.
1801.
Jan. 15. A Mahomedan Mousetrap. Companion to 'Symptoms
of Sanctity.' (See vol. ii. pp. 27-8.)
April 1. Public Characters. A group of portraits arranged
behind a lattice or window-frame. Woodward
del. Rowlandson sculp.
Oct. 12. John Bull in the year 1800.--War.
John Bull in the year 1801.--Peace. Pub. by R.
Ackermann.
Nov. 15. A British Seaman.--A Heart of Oak.
Market Place, Cambridge.
1802.
May 1. Plate 6. School of Honours. 'A Compendious
Treatise on Modern Education.' ('The Stages of
Man's Schooling.' See vol. ii. p. 47.)
July 1. Manager (Garrick) and Spouter. Republished.
Bookseller and Author. Republished. (See 1784).
One Tree Hill. Greenwich Park.
1803.
May 1. The Easter Hunt. Designed by H. Bunbury.
Pub. by R. Ackermann.
The City Hunt. Ditto, ditto.
Nov. The Trumpet and the Bassoon. (See 1811.)
A Trip to Gretna Green. (See 1785.)
1804.
June 30. A Dismounted Light Horse Volunteer. Woodward
del. Rowlandson sculp.
1805.
Apr. 28. The Political Death and Last Will and Testament
of Johnny Macree. Pub. by T. Rowlandson.
(See series of satires upon the impeachment of
Lord Melville, vol. ii. pp. 49, 50.)
May 25. A Sailor's Marriage. Woodward inv. Rowlandson
sculp. Pub. by R. Ackermann. (Companion
to 'A Sailor's Will.' See vol. ii. p. 51.)
July 28. The Blessings of Partnership. Designed by Woodward.
Rowlandson fec.
Nov. 25. A Sailor in a Stable.
Dec. 3. A Sailor's Observations upon the lamented Death
of Lord Nelson. Designed by Woodward. Rowlandson
del. Pub. by R. Ackermann.
9. The Brave Tars of the 'Victory,' and the Remains
of the lamented Nelson. Designed by Woodward.
Rowlandson del. Pub. by R. Ackermann.
11. The French Admiral on board the 'Euryalus.'
1806.
Apr. 16. The New Property Tax paying his Respects to
John Bull.
20. A Brace of Brimstones. (See 'A Cake in Danger,'
vol. ii. p. 58.)
May 1. The Poacher. (See 'A Maiden Aunt Smelling
Fire,' vol. ii. pp. 58, 59.)
June 23. Political Terriers Hunting the Property Tax. (See
satires upon the Grenville and Fox Administration,
vol. ii. pp. 58-61.)
1807.
July 14. The Rivals.
Oct. 9. The Honeymoon.
Miseries of Human Life. House Cleaning.
Pull'd Turkey.
Collar'd Pig. Companions to 'A Calf's Pluck' and
'Rusty Bacon.' (See vol. ii. pp. 80-2.)
1808.
Aug. 23. Horrid Visions, or Nappy Napp'd at Last. Woodward
del. Rowlandson sculp.
Nov. 1. Notice to Quit, or a Will of their own. (See
caricatures against Bonaparte, vol. ii. pp. 92-102.)
Pub. by Tegg.
A Musical Doctor and his Scholars. Pub. by
Reeve & Jones. (See 1815.)
The Unexpected Return, or the Snip in Danger.
Ditto. (See series of plagiarisms from Rowlandson's
drawings. Pub. by Reeve & Jones.
Vol. ii. pp. 90, 91, 297.)
1809.
Feb. 23. St. Valentine's Day, or John Bull Intercepting a
Letter to his Wife. Pub. by Tegg.
(Parody of the Duke of York's letters to Mrs. Clarke.
'Yorkshire Hieroglyphics,' pl. 1, March 8, 1809.)
Mar. 3. Farmer Blunt's Apology. (Satire on 'The Delicate
Investigation.') (See Rowlandson's caricatures
upon the 'Clarke Scandal,' vol. ii. pp. 135-162.)
Apr. 17. Dr. Donovan. ('Investigation of the Charges
brought against H.R.H. the Duke of York,' &c.
See Chronological Summary, 1809.)
21. Connoisseurs. (A plagiarism.) Pub. by Reeve &
Jones. (See 1799.)
Portsmouth Breeze.
28. A Visit to the Synagogue.
May 26. This is the House in Gloucester Place. Plate 1.
Do. do. do. " 2.
(The York and Clarke Scandal. See 'The Delicate
Investigation,' vol. ii. pp. 135-162.)
July 18. An Old Catch newly revived. 'York and Clarke
Scandal.' (See 'The Delicate Investigation,'
vol. ii. pp. 135-162.)
APPENDIX
APPENDIX.
ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES.
CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.
Further information is open to enquirers who are interested in
tracing the works of the caricaturist. The important catalogue of
the satirical prints and drawings in the British Museum, now in
course of publication, will include all the examples found in that
institution, if the Trustees decide to continue it beyond the limit
originally settled (about 1770). The preparation of the catalogue in
question, which has been placed in the hands of probably the very
ablest authority on the subject of satire who has ever lived, is of
necessity a work of time. The elucidation of the earlier graphic
satires has occupied years of patient industry, by which alone the
social and political pictorial 'skits' could be made intelligible--an
undertaking which the lapse of time annually makes more complicated as
regards the interpretation of those lighter trifles of bygone times,
which, in spite of their triviality, often possess an historical value,
unintelligible to the majority of students, because hidden away in the
obscurity of allusions beyond the vision of the present generation.
The task of tracing and explaining the intentions of the graphic
satirists, commenced by Mr. Edward Hawkins, original owner of an
immense collection of their works, is being continued and successfully
carried out for the Trustees of the British Museum by Mr. Frederic
George Stephens. The catalogue, an important contribution to the
history of the subject, has, as we have said, already been years in
hand, and is slowly but surely advancing through the comparatively lost
paths of the past. A new light has been thrown upon the satires of the
times of the Tudors, the Stuarts, the Commonwealth, the Restoration,
the accession of the Prince of Orange and of the House of Hanover.
The results of the editor's painstaking researches are completed and
open for consultation up to the conclusion of the Hogarth period; the
notices upon the works of the great luminary of the school, which are
included in the volume published in the present year, will be found
of so thoroughly exhaustive a character, that the interest generally
felt in Hogarth is likely to be increased, especially as a considerable
amount of entirely new and curious matter has been discovered by Mr.
Stephens in the course of his investigations.
CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.
Div. 1. Political and Personal Satires. Prepared for publication by
Frederic George Stephens, and containing many descriptions by Edward
Hawkins, late Keeper of the Antiquities, F.S.A. Printed by order of the
Trustees. With an introduction by George William Reid, Esq., Keeper of
the Prints and Drawings in the British Museum.
* * * * *
A selection of subjects, treated by Rowlandson with more freedom than
is consonant with the taste of the latter half of the nineteenth
century, is also given by PISANUS FRAXI, in his elaborate and
exhaustive work CENTURIA LIBRORUM ABSCONDITORUM (1879). Pisanus Fraxi
has set down (pp. 346-398) descriptions of over one hundred and twenty
subjects of more or less erotic tendency. The major part of the
etchings included by this authority are of necessity inadmissible in
the present work, owing to their licentious suggestiveness; but a few
of the subjects described in the 'Centuria Librorum Absconditorum,'
restricted exclusively to social caricatures by Rowlandson, the
originals of which maybe consulted in the Print Room and Library of the
British Museum, are also instanced in the foregoing pages.
* * * * *
ORIGINAL DRAWINGS BY T. ROWLANDSON IN THE PRINT ROOM OF THE BRITISH
MUSEUM.
Blood Royal. Duke of Cumberland, with spyglass, followed by his
footman. A back view of the Prince Regent, shown in the distance,
talking to some officers.
A Drunkard. An inebriated figure has fallen, in a state of partial
insensibility, on his back, in a spirit-cellar, leaving the liquor
running; a stout and by no means elegant female, of evidently Dutch
construction, is trying to bring the toper to consciousness by the
use of a birch-broom.
The Trout Fisher Rising.
Rowing for the Coat and Badge.
A Prize Fight.
Domestic Tranquillity.
Portsmouth Harbour, 1816.
Landscape (in Gainsborough's manner).
A Market Town in Cornwall.
A Continental Scene, 17th century. Lady in coach, running footman
before; piazza in distance.
Landscape in Cornwall.
'Putting up Horses.' A country scene.
Portrait of George Morland, full length, standing before a fireplace
in a well-appointed apartment. (About 1787, when Morland was living
in considerable style at a handsome new house, the corner of Warren's
Place, Hampstead.) The person of the artist is carefully studied, and
the items of his dress are most characteristically noted, this being
the time of Morland's most marked foppishness.
Guildhall Association.
Portrait of a Lady.
A Beau and his Chronometer.
ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF GEORGE
WILLIAM REID, ESQ., KEEPER OF THE PRINTS AND DRAWINGS IN THE BRITISH
MUSEUM.
View of a Castle.
View near Bridgport, Dorsetshire.
View in Devonshire.
* * * * *
WINDSOR CASTLE. THE ROYAL COLLECTION.
An English Review. Purchased by George IV.
A French Review. Ditto.
* * * * *
ORIGINAL WORKS BY THOMAS ROWLANDSON IN THE SOUTH KENSINGTON MUSEUM.
(COLLECTION OF WATER-COLOUR DRAWINGS OF THE ENGLISH SCHOOL.)
The Parish Vestry, 1784. Bequeathed by William Smith, Esq.
Brook Green Fair (about 1800). Bequeathed by William Smith, Esq.
The Elephant and Castle Inn, Newington. The gift of G. W. Atkinson,
Esq.
* * * * *
DYCE COLLECTION, SOUTH KENSINGTON MUSEUM.
Landscape. 11 × 8. A roadside inn, where three officers have stopped
for refreshment; one is seated by his mistress and gives alms
to a beggar woman; another, likewise seated, is absorbed by the
bottle and wine; the third is standing at the door and using his
eyeglass. Signed 'T. Rowlandson, 1784.' Engraved in this work. See
_Benevolence_, vol. i. p. 316.
View on the Thames off Deptford, with a large number of vessels near
the Dockyard. 16 × 10. Men who have been bathing scramble into a boat
on the left, very near the holiday parties which are passing to and
fro.
Hampton Bridge, on the left; boats on the river, two of which are
pleasure ones; a stout old fellow is on the left, with his wife on
his arm, and a long pipe in his mouth. 16 × 10.
Hampton Court Palace. 16 × 10. View of the open space in front,
with a carriage and four horses, and its military escort, leaving
the gate; a carter with horses on the left, and, on the right, four
idle fellows amusing themselves by teaching a dog to 'beg.' Signed
'Rowlandson,' and dated 1820.
Landscape. 16 × 10. Timber waggon drawn by eight horses crossing a
bridge, which spans a rapid stream struggling between high rocks;
cottages are on the left, one by the roadside, and another on the
hill.
Portsmouth Harbour.[29] 13 × 8. Lord Howe's victory: the French
prizes brought into the harbour. The people assembled on the ramparts
cheering, a group in front scrambling to get possession of the top
of a wall. Signed 'Rowlandson.'
Portsmouth Harbour. 17 × 11. A repetition of the last, with numerous
additional figures introduced, and more highly finished than the
other. Signed 'Rowlandson,' and dated 1780.
Exterior of Strawberry Hill. 14 × 9. A gouty old gentleman, his
wife and dog, promenade near the walls; another old fellow either
enraptured by a glance of the building or making love to two
servant-girls who look over the wall. A donkey braying across the
fence to the left.
Landscape, with a large flock of sheep browsing on downs, and guarded
by a young shepherd, whose wife is working at his side; a dog is
looking at him. 9 × 5.
Bridge at Knaresborough, Yorkshire. 13 × 9. 'The World's End' inn on
the left, and the landlord directing persons in a cart, who have
probably stopped for refreshments. Signed 'Rowlandson,' and dated,
1807.
'Sir Henry Morshead felling his timber to settle his play debts.'
9 × 5. Three men chop and fell trees, a fourth takes instructions from
a soldier on guard; a parson stands near. Signed 'Rowlandson,' and
dated 1816.
St. Austell, Cornwall. 9 × 5. View, looking up the principal street,
the church in the distance; groups of persons in the foreground are
scrutinised by a hairdresser who stands at his door.
Kew Palace. 16 × 11. Seen across the river; a boatman steadying
his boat for three stout persons to enter it; two ladies already
apparently occupy all the spare room; other pleasure boats are on the
water, some with sails.
Landscape. 15 × 11. An approach to a village across a bridge, a woman
carrying a bundle; a horseman and other figures are in the foreground.
Museum of Ancient Paintings in the Palace of Portici, near Naples.
8 × 5. Three gallants, including two military officers, attend a young
lady; her father is behind, accompanied by the custodian. _Vide_
'Naples and the Campagna Felice,' 1815, _ante_, pp. 301-2.
Glastonbury, Somersetshire. 9 × 5. View, up the principal street,
with a church in the distance; a carriage, with post-horses at full
gallop, frightening a woman riding on a donkey near; women gossiping
while getting water at the conduit. The subject etched by the artist
as plate 24 of 'Rowlandson's World in Miniature,' No. 2, 1816.
'Betting Post.' 8 × 5. View on a racecourse. A crowd of ruffians on
horseback surround a man who is about to read a list of the names
of the favourite horses, but is interrupted by the impatience of
his companions, whom he endeavours to prevent riding over him; a
gouty old fellow, also on horseback, carries his crutches with him.
Engraved in this work. See description, vol. i. p. 257.
ILLUSTRATIONS TO 'THE TOUR OF DR. SYNTAX IN SEARCH OF THE
PICTURESQUE.'[30]
Dr. Syntax pursued by a bull. 7 × 4.
Syntax, still trembling with affright,
Clung to the tree with all his might.
Vol. i. p. 40.
Dr. Syntax drawing from Nature. 7 × 4.
The Doctor now, with genius big,
First drew a cow, and then a pig.
Vol. i. p. 121.
Dr. Syntax at a card party. 8 × 4.
The comely pair by whom he sat,
A lady cheerful in her chat.--Vol. iii. p. 163.
The remainder of the series appear to have been designed for the
work, but not etched nor used as suggestions to Mr. Combe, excepting
those noted. It may not be generally known at the present time that
the Tours were written to elucidate the designs, which the following
introduction fully explains: 'This second tour is, like the former
one, a work of suggestions from the plates by Mr. Rowlandson, though
not with such entire reserve as the first. Some few of the subjects
may have been influenced by hints from me; and I am willing to
suppose that such are the least amusing of them.'--_Introduction to
the second volume_, 1820.
Dr. Syntax--unable to pull up at the Land's End--is fearful of being
carried to the World's End. 10 × 7. View on the coast during a storm,
with the vivid flashes of lightning frightening the people, and the
heavy waves dashing on the shore.
Dr. Syntax taking wine with a lady in a drawing-room, while the
daughter of his hostess and her lover exchange caresses on a rustic
seat under the verandah.
Dr. Syntax thrown off his horse while hunting. 7 × 8.
Your sport, my lord, I cannot take,
For I must go and hunt a lake.--Vol. i. p. 108.
Mr. Combe no doubt thought it as well, although availing himself
of the hint that hunting was not suited to the Doctor's taste, to
mention the fact of the Doctor being asked to join the sport, and his
declining the invitation, as he was about to make some drawings on
the lake.
Dr. Syntax leading a lady to the entrance of a grand mansion: most
probably giving the idea of the Doctor escorting Lady Bounty from the
garden to her mansion on their first interview. 9 × 5.
For while he sojourns he will be
The object of all courtesy.--Vol. ii. p. 217.
Dr. Syntax gazing at some ruins; a man and boy in attendance. 8 × 4.
One plate was probably thought sufficient to illustrate 'Sketching
the Ruins, and Tumbling into the Water,' through his seat giving way,
the latter one being used.
But now, alas! no more remains
Than will reward the painter's pains.
Vol. i. p. 71.
Dr. Syntax in the Jail; a young fellow and three dogs on the left.
7 × 4.
Boarding a Man-of-war. 8 × 5. A boatload of people awaiting their turn
to ascend a rope ladder, on which a gentleman of the party is fixed
in rather an uncomfortable position. _Vide_ 'Naples and the Campagna
Felice,' 1815, _ante_, pp. 301-2.
Dr. Syntax frightened by the appearance of a large fish having a form
resembling that of a whale; his companion and some fishwives are also
greatly alarmed, and a few of them lie sprawling on the ground. 8 × 4.
Dr. Syntax drawing the waterfall at Ambleside, while his man Patrick
is eating voraciously. 8 × 5.
Bold sketches from the very scene
Where, with his neighbours, he had been.
Vol. ii. p. 64.
A Lady repulsing with the poker her guests, consisting of eight
gentlemen, among whom is the Doctor; her dog by her side appears to
be equally pugnacious. 8 × 5.
Dr. Syntax riding and chatting with a lady, under an avenue of trees;
a footman behind them. 8 × 5.
Dr. Syntax playing at cards with a young lady; an old wooden-legged
officer seated near, apparently not in the best of tempers; three
other young ladies seated on the sofa take much interest in the game.
8 × 5.
Dr. Syntax gently opens the door of a garret, and is horrified to
find a woman of the _pavé_ reclining back in her chair dead; a dog is
seen on the left playing with her wig. 8 × 4.
Dr. Syntax skating and saluting three ladies who stand on the bank of
the frozen river. 8 × 5.
* * * * *
The following drawings by Thomas Rowlandson, with several engravings
of his London views, already described under the accounts of his
prints in this work, were exhibited (1879) in the western portion
of the Exhibition Galleries, South Kensington, in the valuable and
interesting series of
VIEWS OF LONDON AND WESTMINSTER. COLLECTED AND EXHIBITED BY JOHN
GREGORY CRACE, ESQ.
Entrance to Blackwall Docks, 1801.[31]
Perry's Dock, Blackwall, 1801.
View of the Reservoir in the Green Park, looking south (towards
Westminster), 1810.
* * * * *
Original drawing of Brooks's Subscription Room, in the possession of
HENRY BANDERET, ESQ. BROOKS'S CLUB.
ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN POSSESSION OF W. R. BAKER,
J.P., ESQ., OF BAYFORDBURY PARK, HERTFORD.
At Bayfordbury Park--where, it will be remembered, the celebrated
collection of the Kit Cat Club, a national gallery of portraits, by Sir
Godfrey Kneller, of the most interesting character, has its home--the
choice examples of Rowlandson's skill appear to have been secured by
the family at one time, and that at what may be considered the artist's
best period--a little before the production of _Vauxhall Gardens_, and
the series contributed to the exhibitions of the Royal Academy.
The Bath Coffee House. A highly amusing interior, representing the
various fashionable characters to be met with on the Great Bath and
Bristol Road a century back.
Rustic Scene. Carters' horses watering.
Scene outside a Lodge in a London Park, crowded with animated groups
of folks of _bon ton_, as they might be seen disporting themselves in
the fashionable resorts, where the 'best company' of the day was to
be encountered in 1785.
The Waggoner's Halt.
Sailors Soliciting Charity. A party of Rodney's 'old salts,'
disabled, and reduced to appeal to charity; a model of a ship-of-war
is dragged about on wheels to attract the attention and sympathies of
the passers-by.
French Barracks, 1786. A highly finished example of one of
Rowlandson's most famous subjects (exhibited at the Royal Academy,
1787). It probably preceded the exhibited drawing, since it is
executed on a somewhat reduced scale to that of the engraving. A
full description of this admirable design is given under the list of
subjects belonging to 1791 (Aug. 12).
Death and the Apothecary. This subject is drawn in Rowlandson's
most careful method. In the writer's opinion it is one of the
earliest examples of the artist's finished works which have come
under his attention, and is probably of the same date as the _School
of Eloquence_, mentioned under 1780, which, as he has noted, has
suffered at the hands of the anonymous etcher. Death, as a grim
skeleton, is intruding into the apartment of an invalid by the
window; the patient has armed himself with a gruelspoon to ward off
this sudden attack from the unassailable foe, while a corpulent
apothecary, standing in ambush behind his client, has snatched up
a gigantic syringe, which he is pointing, by way of a great gun,
at the bony framework of the ghastly actor who has dropped in to
complete the quack's handiwork and snatch away a profitable customer.
The whole of the background is worked out like a fine etching, in a
fainter line than the figures, much in the style which distinguishes
the etchings of Mortimer.