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Full text of "Catalogue of prints and drawings in the British Museum: Division I. Political and personal satires"

CATALOGUE OF PRINTS AND DRAWINGS IN 



THE BRITISH MUSEUM. 



frttUt 



CATALOGUE OF 







PRINTS AND DRAWINGS 



IN THE 

BRITISH MUSEUM 

DIVISION IJ 
APOLITICAL oAND PERSONAL SATIRES 

(No. 1236 TO No. 2015) 






VOL. II. JUNE 1689 TO 1733 



PRINTED BY ORDER OF THE TRUSTEES 
1873 



NE 

55 



1810 



CH1BWICK PRESS: PRINTED BY WHITTINGHAM. AND WILK1NS, 
TOOK8 COURT, CHANCERY LANE. 



INTRODUCTION. 




'T is necessary to repeat here so much of the 
"Introduction" to the first volume of this 
Catalogue as describes the nature, scope, and 
mode of dealing with the materials of the 
entire work. It is also desirable to give a general 
account of the subject in view. The analysis of 
the contents of the Catalogue will be useful. 

This Catalogue comprises descriptions, historical and biographical 
explanations and illustrations, measurements, and other details of 
satirical prints and drawings in the British Museum. Most of 
the entries refer to works in charge of the Department of Prints 
and Drawings ; a considerable number of examples pertain to the 
Department of Printed Books these are distinguished by the press- 
marks of the Library being placed at the end of each entry describ- 
ing them. Those entries which refer to drawings belonging to the 
Department of Manuscripts bear the press-marks of that depart- 
ment. Entries without press-marks refer to works in the Print 
.Room. 

The entries are arranged in chronological order; the date of the 
earliest event directly illustrated by each print or drawing is adopted 
for the entry describing it. When the subject of a print or drawing is 
comprehensive rather than exact in chronology, the satire is catalogued 
with the date of the first production, which is not necessarily that 
of the publication of the work, for publication often took place long 
after the production of a satire. When the date of produc- 
tion has not been ascertained, that of publication is employed. 
References are given in the texts of many entries to other illustra- 
tions of events which, happening at later dates than those which 
determined the positions of the entries, would not be otherwise con- 
nected with them in this Catalogue. Cross references complete this 
arrangement. Such references are employed when prints and wood- 
cuts were used more than once. Whenever a plate or block was 






%J INTRODUCTION. 

employed to illustrate successive editions of satirical works, and 
those editions have been found in the British Museum, the facts 
were noted with the description of the original impression. 

The mode of arranging the materials of the entries in this Cata- 
logue should be noted. Whenever a title of explanatory character 
is borne by the work in question it is quoted ; if the title is placed 
within the engraved margin of the work, and is thus inseparable 
from it, it is given between inverted commas as the title of the 
entry, vide <( Pantagruel Agonisant ", No. 1245 ; when that title is 
imperfectly descriptive, a second title is added without inverted 
commas, as with "Holland Hollende Koe 1690", No. 1250, which 
the second title affirms to be a satire on William Bentinck, Earl of 
Portland. Where a sufficient title occurs beyond the engraved 
margin, it is given without inverted commas, as in " Hy Holt Hy 
Holt", No. 1236, and, where it seemed desirable, an explanatory 
second title is given, as in this instance, where the subject of the 
satire is indicated to be the threatened failure of James II/s expe- 
dition to Ireland. All quotations are copied literally; when these 
occur within the engraved margin of the print they are incorporated 
with the text of the entry, placed between inverted commas, and 
printed in italics. Quotations not derived from the print are not 
given in italics unless with regard to certain parts of extracts, 
such as words or phrases which occur in that form in the original 
texts ; these run with the extracts and not with the texts of the 
entries. When they are given with the works described, the pub- 
lication lines, with the names of artists and others, are printed in 
italics, and after the titles of the entries, as in " Mardi gras de Cocq 
a Pane", No. 1238. When these particulars are otherwise derived 
they are stated in Roman type within brackets, as in " Desolaten 
Inventaris van de Franse Wracken ", No. 1279. The dates which 
have determined the positions of the entries in the Catalogue are 
placed in italics and in brackets immediately after the publication 
lines ; when these dates have not been sufficiently defined to asso- 
ciate the entries in which they occur with any particular event, 
and it was desirable to indicate that the entries belong to an indefinite 
period of time rather than to a single year, they are distinguished 
thus, as usual, " c. 1733 ". 

The first measurement given is always the horizontal one. 



A very large number of books and tracts in the Library have 
been examined in order to afford explanations and illustrations of 
.-utires, some hundreds of which were presented to the Cataloguer 
with few or no indications of their subjects a large number bore not 



PLAN OF THE CATALOGUE. vii 

even a date ; it is believed that, with scarcely any exceptions, 
the meanings and histories of these works have been completely 
expounded. Renewed examination of the grounds for accepted 
explanations of well-known satires has been undertaken with, in 
some cases, curious results. 

Examples of the results of examining books and tracts for the 
above-named purpose occur in " The Surrey- Wonder", No. 1778 ; 
" Risum teneatis amici?" No. 1833 ; " Serpentes avibus geminentur", 
&c., No. 1834. In no cases were these researches more profitable 
than with regard to " The Bubblers Mirrour", No. 1620 ; " The Bub- 
blers bubbl'd or the Devil take the Hindmost", No. 1625 ; and 
" A Monument dedicated to Posterity", No. 1629, prints which are 
among the more important of the very numerous and highly instruc- 
tive collection of satires in English, Dutch, French, and German, on 
the South Sea Company and its fellows in disaster. Probably every 
portion of these satires has been explained, so that the student 
is now as nearly as possible in the position of one living during 
the periods in question. In not a few cases the researches under- 
taken for these volumes have fortunately led to recovering the 
lost points of the satires, e. g. in " Wonders upon Wonders", No. 
1549, of which the sting is in the ironical promise of preferment for 
Dr. Hoadly, " WTien Paul Lorain dies". The appointment held by 
this divine was not indicated; it was obviously one which made 
him conspicuous in 1710; yet the man himself is forgotten. When, 
however, it appeared that Paul Lorraine was Ordinary of Newgate, 
the bitterness of the satire was recognizable, and the subject of that 
part of the work was understood to be the request of the House of 
Commons to the queen that she would, give preferment to " The 
Low Church Champion " who so often appears acting as the ally 
of Satan himself. 

It was determined to incorporate with the descriptions of the prints 
and drawings the elucidatory matter these researches produced, and to 
give that matter in a complete or an abstracted form, as the cases 
required. This was done not only because of the impossibility of 
otherwise fairly explaining many of the obscure allusions of the 
prints, but on account of the extremely interesting character of the 
quoted matter, referable, as it generally is, to other satires, besides 
that to illustrate which it is given in these volumes. 

The histories of the prints themselves, as such, have, as occasion 
dictated, been traced, and some of these histories as with regard 
to the portrait of John, Lord Finch of Fordwich, No. 159, cited in 
the Introduction to the preceding volume are very curious. An 
example, pertaining to the second volume, will be found in " To the 
Glory of the R l . Hon ble . S 1 . Robert Walpole", No. 1842, which was 



viii INTRODUCTION. 

originally proposed see the quotation, p. 716, from "The Grub- 
street Journal ", by " Three Frenchmen " in honour of the 
minister, but, falling into the hands of his political opponents, was 
used as a weapon against him; see p. 715. Unlike the above, 
the history of Hogarth's large plate, " Credulity, Superstition and 
Fanaticism", was already known, and is given in No. 1785. 
"Rotaveltragopann", No. 1414, and "A True Portrait", &c. No. 
2007, have baffled researches, which were made without stint, but 
more in obedience to principle than on account of the intrinsic im- 
portance of these engravings. No case of this kind is more curious 
than that afforded by the history of the plate now originally described, 
and in the first instance, as " The Distress of Louis XIV." (No. 2.), 
No. 1447, which was alleged to display the effect produced on that 
monarch and his mistresses by the disasters to the French arms in 1706 ; 
the design was so popular that it was copied/ by engraving on metal, 
not fewer than four times. The plate of the first copy (No. 1447) 
was brought into use again in 1720, with the new title, " De ster- 
vende Bubbel-Heer in den schoot van Madame Compagnie " ; see No. 
1615, where the figure which erst stood for Louis XIV. was made 
to personify the South Sea Company, or " Bubble-Lord," in extremis, 
and the king's concubines and friends served for the promoters of the 
company and sharers in its downfall. In the same way, No. 1448 
became, fifteen years later, No. 1617. The adapted plate itself 
was copied in 1720; see No. 1616. Another instance of a plate 
converted to a second service is given in " Paye que Tombe ", No. 
1337; see likewise Nos. 1442, 1443, 1451, 1579, in which a 
plate that was one hundred and four years old did duty again in 
1712. Another and interesting example occurs with regard to " Sic 
Itur Ad Astra, Silicet." by Loggan, No. 1469, which was produced 
from the same plate as No. 1117, with the same title, published nine- 
teen years before 1706, the date of No. 1469. A curious example 
of the conversion of a simple portrait, prepared as a compliment, into 
a bitter satire, occurs in " Quinquenpoix ", No. 1681, representing 
John Law of Lauriston. 



Political Importance of Artistic Satire. 

THE preparation of the present volume has thrown light on the great 
importance attached to political satire in the time of William III. In 
addition to the examples furnished by numerous entries of the first 
volume, describing etchings by Romeyn de Hooghe, the artistic 
champion of the King of England (see Nos. 1158, 1167, 1179, &c.), 
the same artist illustrated a considerable series of bitterly satirical 



POLITICAL IMPORTANCE OF ARTISTIC SATIRE. ix 

tracts, in Dutch, entitled collectively " ^Esopus in Evropa ", all of 
which were directed against Louis XIV., and designed in favour of 
his rival. These tracts have been translated in abstract, and their 
allusions are explained in the entries to this Catalogue, numbered 
from 1345 to 1381, 1420 to 1422. The literary and artistic warfare 
waged by the partizans of William and Louis, is strongly illustrated 
in the curious prints described as " Reported death of William III." 
(Nos. 1, 2, 3, and 4), Nos. 1241, 1242, 1243, and 1244, being four 
copies of one design ; Nos. 1243 and 1244, show that two of these 
copies were made in order to attack those who produced the original, 
by showing, in their own light, their " Folies extravagantes ". The 
more trenchant reply, however, occurs in the famous etching de- 
scribed as " Pantagruel Agonisant ", No. 1245, one of the most 
elaborate and interesting satires connected with the history of Eng- 
land. In this work, <f La mort imaginaire du Roy Guillaume " is 
included as a subsidiary design, in that one which describes the sup- 
posed deathbed of King Louis, and reproduces the engraving of that 
monarch's falsified triumph in the " Reported death of William III." 
No. 1241. " Holland Hollende Koe", No. 1250, is another impor- 
tant satire, illustrating the connection of Holland with England in 
1690; it is by Romeyn de Hooghe. The popularity of many of 
these prints is proved by the above and other cases, which show 
that the designs were copied over and over again, e. g. " Le Crieur 
de Versaille" (Nos. 1, 2, and 3.) and " France Omroeper ", Nos. 1269, 
1270, 1271, and 1272. The political importance of satires of this 
kind, and the stress laid on them by politicians, are fairly illustrated 
in the history of " The Destruction of the Spanish Armada, 1588 ", 
&c., No. 41, which shows that Count Gondomar, the Spanish Am- 
bassador, officially remonstrated with regard to the publication of 
that work ; on this subject see further, Nos. 86 and 88. In its con- 
nection with literature proper, none of these illustrations has a 
greater interest, in regard to its effect produced on an individual, 
than the satirical portrait of Pope, described as " Fronti Fides ", 
No. 1812, which doubtless evoked that poet's famous lines in "The 
Prologue to the Satires ", 352-3 : 

" The morals blacken'd when the writings 'scape, 
The libel'd person, and the pictured shape." 

Pope's terror of " pictur'd " attacks on his " shape ", a frequent sub- 
ject of his literary assailants' satire, and his prevision of what he 
might experience at the hands of Hogarth, are said to have induced 
him to forbear attempts at retaliation for the caricature comprised in 
"Taste", No, 1873. Whether he thought Hogarth too great or too 
dangerous a subject for " The Dunciad ", or its fellows, it is certain 



INTRODUCTION. 



lis poet did not molest the painter, although the latter had 
;1 him, had often, in "The Beggars' Opera", No. 1807, ridi- 



that this 

mocked 

ruled Gay, and opposed what Pope esteemed. Thus the two great 

satirists of the century made their journeys through life in parallel 

lines, and laboured in enmity rather than friendship. If Pope refrained 

from assailing Hogarth, neither did he applaud him. 

The close connection between the artistic satires of England and 
those of the neighbouring nations appears in many of the above- 
named examples, e.g. "Reported death of William III.", No. 
1241, and its cognates. The connection is even more closely shown 
by many of the works comprised in the large collection of prints 
referring to the South Sea Company and the other schemes of which 
it was the English original and type. " The Bubblers-Kingdom", 
No. 1622, is a copy of " De Verslagen Actionist", No. 1660; 
" The Bubblers bubbl'd", No. 1625, is a copy, reversed, from " De 
Wind Koopers met Wind Betaald", No. 1623, a print which was 
also copied in " De Windverkopers of Windvangers", No. 1624. 
" The Bubblers Bullied", No. 1626, is a second English copy from 
" De Wind Koopers met Wind Betaald". In a like manner " A 
Monument dedicated to Posterity", No. 1629, is an English copy, 
reversed, of " Monument consacre a" la posterite", No. 1627, of 
which a foreign copy, No. 1628, also exists. " Baal, of de Waereld 
in Maskerade", No. 1635, was evidently prepared for the Dutch or 
English market indifferently, for it has an English title as well as a 
Dutch one, and comprises an English paraphrase of the Dutch verses 
which accompany the design. Designs intended to suit the Dutch and 
French markets indifferently are more common than those which 
appeal to English and Dutch readers ; for examples see " Reported 
death of William III." (No. 3.), No. 1243, which is accompanied by 
verses to the same effect in Dutch and French ; this is the case likewise 
in " Pantagruel Agonisant", No. 1245. "Le Crieur de Versaille" 
(No. 3.), No. 1271, is a German copy from the Dutch print with the 
same title (No. 1.), No. 1269. " De Son in't Hernelsteeken van 
den eevenaar", No. 1273, is accompanied by similar texts in Dutch 
and French ; so likewise in " Canailje t. Canael uyt etc.", No. 1281. 
Examples of this kind are very numerous, and are derived mostly 
from the reign of William III. After this period the Dutch language, 
which must have been widely used in England during that reign, 
seems to have passed gradually out of vogue in this country ; but, 
notwithstanding the Hanoverian succession, German did not take its 
place. French was occasionally, though rarely, employed ; yet the 
connection with Holland is manifested so late as 1720, by means of 
numerous satires on the South Sea Scheme and its effects, which 
have been already indicated, and are included under the dates of 



VARIETIES OF ARTISTIC SATIRE. xi 

1720 and 1721. One of the most important of these bilingual 
satires is also one of the latest in date of its kind, being that 
styled " Ludofricus", No. 1460, with a text in French and a 
Low Country patois ; it occurs in the volume which has furnished 
so many valuable illustrations of the mania for commercial specula- 
tion which, in 1720 and the few preceding years, obtained so 
tragically in England, Holland, and France, but it refers to the 
War of the Spanish Succession, and is, of course, catalogued with 
the date 1706. When the designs on English plates were not 
absolute copies from foreign works, as in several instances above 
cited, they were sometimes adapted from continental sources. An 
example approaching this is presented by the fact that the print 
described as "The Wheel of Fortune", No. 1218, was adapted in 
" 't Roomse Rad van Avontuur", No. 1466. The origin of these 
" Wheels of Fortune " must be looked for at a much earlier date 
than that of No. 1218 ; that origin was probably medieval ; one of the 
most admirable instances of the same idea appears in the beautiful 
satirical drawing by Holbein, signed by him and dated "1533"; this 
belongs to the Duke of Devonshire, and is preserved at Chatsworth. 
The notion is current to this day. Several examples of the appli- 
cation of similar designs to diverse purposes are given in the last 
paragraph of " 't Verkeer Spel van Brabant en Vlaanderen", No. 
1490. Many cases of the repetition of designs are probably due to 
the piratical practices of publishers; thus " Hoadly seated at a 
Desk", No. 1534, though professedly " Engrav'd, and Printed at 
AMSTERDAM", was, it seems, a piracy on the print described with the 
same title, No. 1533. It is generally easy to distinguish copies from 
their originals by the inferiority of the execution of the former to that 
of the latter; it happens sometimes, however, that the copies are 
better in art than the works to which they owe their existence. 

No instance occurs in the second volume of this Catalogue like 
that described in the first volume in which two prints, published toge- 
ther in the same book, were made to reflect on each and became 
satirical by means of their juxtaposition ; this occurs in " A Cat 
May look upon a King", No. 57, where a cat appears gazing across 
the pages at a portrait of James L, and the text enlarges on the 
alleged crimes, vices, and follies of that monarch. There are, however, 
many prints described in the second volume which refer to others also 
described therein, e. g. " The Jacobites Hopes", No. 1495, " Needs 
must when the Devil drives", No. 1496, and " Like Coachman, Like 
Cause", No. 1497. Again, " The High Church Champion, and his two 
seconds", No. 1498, is connected with "To the unknown Author of the 
High Church Champion", &c., No. 1501 ; " The Whigs Idol", No. 
1509, and "The modern Idol", &c., No. 1513, are antagonistic, 



xii INTRODUCTION. 

the former in satirizing Hoadly, " The Low Church Champion", 
the latter in attacking Sacheverell, his rival of the "High Church" 
party. 

Progress of Satirical Art in England. 

IT may be observed that considerable changes occur in the general 
character of the satires described in the first and second volumes of 
this Catalogue. Apart from illuminations comprised in MSS. the 
satiric scope of which is very small, while their humour is reduced by 
frequent repetition of the same forms of satire and modes of attack 
the earliest printed works are, not without extraordinary excep- 
tions, generally simple in their nature, and mostly dependent on in- 
scriptions; one of the earliest of these is " Popish Plots and Treasons", 
described as No. 13, and containing thirty-four designs of this sort, 
each of which is a distinct work. " Sanctitas simulata", No. 83, 
although of a superior order of wit, is equally simple. The extra- 
ordinary exceptions are furnished by some of the most remarkable 
early English satires, and will be found in the powerful " Mar- 
tyrdom of Reformers", No. 10, " The Nation and its riotous 
Governors", No. 60, " The Re veils of Christendome", No. 81, and 
the admirably devised, wealthy, and in every respect remarkable 
work, " Magna Britannia divisa", No. 143, and others in no con- 
siderable numbers. The rule of extreme simplicity seems, with 
such exceptions, to have remained in force for more than a 
century ; and the great mass of the satires described in the first 
volume of this Catalogue are of this kind. Almost without an 
exception, the whole of those rudely-executed but often trenchant 
woodcuts illustrating tracts which appeared in amazing num- 
bers immediately before the war of Charles I. with his Parlia- 
ment, and during the earlier years of that contest, are of this cate- 
gory ; in these the satire is of the crudest kind, e.g. W. Marshall's 
" Portrait of Archbishop Laud, Imprisoned", No. 173, which was 
often repeated, see Nos. 161, 169, 177, and 200. On the other 
hand, foreign satires on English subjects are much more elaborate, 
if not less crude in their wit; this appears to be the case in the 
following examples of such works, Hollar's " Archbishop Laud 
firing a Cannon", No. 148; Laurentz's " Arminius between Truth 
and Heresie", No. 236; the anonymous Dutch broadside on 
Laud, described under " England and Irelands Sad Theater", 
&c., No. 416; the political assault on the Protector Oliver, 
styled "Liberty outraged", &c., No. 863; and "The English 
K'l'c Dancer", No. 874. Another of these more elaborate examples 
is that extremely remarkable one by Hollar, " The World is Rvled 



PROGRESS OF SATIRICAL ART. xiii 

& Governed by Opinion", No. 272, the meaning of which was lost 
until the researches instituted on account of this Catalogue showed 
that it referred to the political influence of satires, all but one of 
which are included in the Catalogue. This is but one of a very 
great number of instances in which the systematic examination of 
the immense collection of satirical prints in the British Museum has 
produced unexpected light. To the rule of simplicity in the concep- 
tion of the earlier English satires such works as " Faiths Victorie," 
&c., No. 11 ; " The Destruction of the Spanish Armada, 1588", &c. 
No. 41 ; " Tittle-Tattle", No. 61 ; and " A Kepresentation of 
Quackeries", &c., No. 82, are not really exceptions, because on exami- 
nation they prove to display many satires grouped but not welded 
together in the manner in which Dirk Stoop had combined the multi- 
farious matters and abundant allusions of " Magna Britannia divisa", 
No. 143. This lack of connection between the elements of a single 
design is strikingly shown in te The Destruction of the Spanish 
Armada, 1588", &c., No. 41, by Samuel Ward, of which detached 
portions were republished see Nos. 45, 46, and 47 as complete 
works. 

This rule of simplicity obtained until more than half the seventeenth 
century had passed ; the first marked exception is the curious work 
described as " A Mad designe", No. 814, which appears to be a part 
of a print, an impression from the whole of which is said to be 
in the possession of the Society of Antiquaries, London. It is not 
improbable that this plate is due to a Dutch artist ; this may like- 
wise be the case with regard to "Dr. Dorislaw's Ghost", &c., 
No. 837; but "The Great Butter Box", No. 854, is unques- 
tionably English ; so must be the far superior work, " The Low 
Estate of the Low-Countrey Countess of Holland", No. 1040, 
which, like the last, in attacking the Dutch with weapons the artists 
of that nation had often furnished to others, shows that the English 
had learnt to use them with greater skill and more effectually than 
before. Our countrymen rapidly improved ; and some of the satires 
of this period are elaborate enough, e.g. " The Devil" &c., No. 1068 ; 
"The Country Mans Case Uncased", No. 1070; " A Tale of the 
Tubbs", &c., No. 1071. 

With this increased elaborateness of design, artistic satire did not, 
so to say, contrive to free itself from literary accompaniments ; 
but, on the contrary, as this Catalogue shows, both literary and 
artistic satire, as combined in the specimens in question here, grew 
more and more elaborate and diffuse. This continued until a change, 
not less remarkable than the separation of artistic satire proper from 
literature, had begun to take effect. This happened at about the end of 
the first quarter of the eighteenth century. Meanwhile, it was strikingly 



xiv INTRODUCTION. 

characteristic of the somewhat cumbrous and over ornate taste of the 
age, that even popular satire, the people's weapon, should be gar- 
nished with extrinsic ornament, and involved and elaborate in its na- 
ture, beyond the simpler, sterling English manner of the earlier works 
which have been cited above. Such being the case, it was impos- 
sible to give adequate explanations of the prints by means of brief 
descriptions such as occupy the greater portion of the first three- 
fourths of the former volume of this Catalogue. The satires during 
the interval referred to increased in elaborateness of design, and 
they became less easy to be separated from their literary accompani- 
ments ; above all, these works of both kinds increased in interest to 
the student. As they could not be divided, it has been preferred 
to continue the practice adopted from the first, that of giving ab- 
stracts from texts whenever the nature of those works permitted, 
or, when that was not practicable without considerable loss of force 
and character the essentials of satire to quote the texts in full or 
in part, as the cases seemed to require. This was the plan adopted 
in the former volume, and it seemed the worst of all reasons for 
departing from it that the works in question became richer in 
matter and value as time proceeded. On this account in many 
cases the illustrations are in these volumes more numerous and the 
quotations ampler than before or after in reference to the satires 
published from c. 1675 to c. 1725. Examples of the increased 
elaborateness of English satiric design occur in " The Engraved 
Frontispiece to the second tome of Prynne's * Records'", No. 
1029, dated 1665 ; and No. 1034, the very curious print by Gay- 
wood, " The King of Spain on the back of Holland ", the origin 
of which has not been discovered, although a fragment of a 
volume was found by Mr. Reid in the library at Windsor Castle, 
with a description of the work in verse. Other examples occur 
in "A Tale of the Tubbs", &c., No. 1071; "The Solemn Mock 
Procession of the Pope, Cardinalls ", &c., No. 1072 ; " The Com- 
mittee", No. 1080, where a rich design is inexplicable without its 
long rhymed "Explanation". "The Solemn Mock Procession", 
&c., No. 1085, is another example of an elaborate design with a 
lengthy but indispensable " Explanation" ; " A True Narrative", 
the First and Second Parts, Nos^ 1092 and 1093, comprise twenty- 
four distinct designs ; and the still more extensive " April-Kaart of 
Kaart Spel", No. 1642, comprises not fewer than fifty-four designs. 
It would be impossible to describe the richness of allusion in " Pan- 
tagruel Agonisant", No. 1245, better than by means of its own 
French rhymes; the verses attached to "Gloria Deo", No. 1294, 
arc at once an explanation and a description of the design. Weight 
could not be given to the meaning of the illustrations of " A Tale 



PROGRESS OF ARTISTIC SATIRE. xv 

of a Tub " (Nos. 1298-1333), a satire only surpassed in importance 
by " Hudibras" and "The Dunciad", without abstracts and extracts 
from Swift's text. A mutilated version of the French verses attached 
to " De Grooten Waereld Verdeelder ", No. 1340, would have been 
insufficient. This work is a key to many others. Any description 
of the single figure of Madame de Maintenon bewailing the misfor- 
tunes of her country, as in "La France Lamentant", No. 1455, would 
be inadequate to wastefulness without the verses which accompany 
the print. The same may be said with regard to " Ludofricus", 
No. 1460, a fellow satire to the last ; also of " Mr. Toby", No. 1586, 
a highly interesting illustration of a literary quarrel, and one of the 
earliest of its class. A few other examples of elaborate designs 
and satires inseparable from their literary accompaniments may be 
seen in Faction Displayed ", No. 1508; " The Funeral of the Low- 
Church", No. 1531; "The Coffehous Mob", No. 1539; "An 
Answer to the Whigs Medley" No. 1571. " The Bubblers Med- 
ley", No. 1610, and the similar print with the same title, No. 1611, 
approach " The Bubblers Mirrour", No. 1621, in wealth of allusion 
and elaboration of treatment ; but " The Bubblers bubbPd ", No. 
1625, surpasses these in both respects, and needed fuller exposition. 
"A Monument dedicated to Posterity", No. 1629, dating from 
1720, is of the same class, and is one of the latest satires on the 
subject current in England, if not of English origin. 

A great change was imminent at this date, and the subordination 
of English satiric design to literature was about to cease ; besides 
this, it was to become much more artistic than before, and, in con- 
sequence, it was certain to be less elaborate ; for modes of purely 
artistic expression are, of course, exceedingly terse. Hogarth, the 
originator of English art in its modern and current phase, began, 
about 1725, to do for English artistic satire almost as much as he 
afterwards did, technically and intellectually, for English painting. 
In fact, Hogarth created modern English satire ; he needed no help 
from inscriptions or textual aids of any kind, and, after 1725, only 
once employed the former ; he drew, and there is no mistaking his 
meaning. From this date of Hogarth's advent, c. 1725, English 
satiric design, although rich in allusions and wealthy in incident, 
parted with the cumbrousness which had overlaid its true character 
for half a century, and became, for the first time, artistic. The first 
work of this designer is, however, strikingly enough, cumbrous, and 
its humour is far-fetched see "An emblematical print on the South 
Sea Scheme", No.. 1722, dated 1721; "The Lottery", No. 1730, 
is hardly less cumbrous, but its humour is spontaneous. " Mas- 
querades and Operas", No. 1742, dated 1724, is not only the first of 
Hogarth's works iu the new spirit, but the earliest of its kind in 



xvi INTRODUCTION. 

combining improved artistic merit and spontaneity of conception, 
nevertheless the incidents are not without improbability, and the 
humour is of a kind which needed to be improved by cultivation. " A 
Satire on the Altar-Piece", No. 1764, although a caricature of 
another work, was entirely novel in this country, and more witty than 
most of the earlier examples of satire. The production of" Cunicularii", 
No. 1779, was another step in advance, but the work is dependent 
on the labels and their inscriptions for much of its force. " Credulity, 
Superstition and Fanaticism", No. 1785, was prepared long after 
1726, although necessarily placed here with that date. From these 
the improvement, not only in Hogarth's satires, but in those of his 
contemporaries, was rapid and distinctly marked. Textual illustra- 
tions became rare, so that artistic satire was soon independent 
of literature ; and the works of Rowlandson, Gillray, Bunbury, 
Leech, and Mr. George Cruikshank are, taken in the mass, purely 
artistic. Thus the mode at least of artistic satire is fully developed. 
It cannot fail to be understood from the above account of the pro- 
gress of satirical art in England, that the period 1675 1725 was a 
transitional one, of which the satires were, so to say, double ; owing 
to this circumstance, and others which are above mentioned, many of 
the entries derived from this period of transition are exceptionally 
long. 

Analysis. 

A BRIEF general analysis of the contents of the Catalogue will be 
useful to the student. 

This Catalogue begins with satires on the clergy of the fourteenth 
century, these may be taken as representing the general spirit of 
that almost innumerable class of works which obtained in literature 
and art previous to the Reformation. A large body of similar 
designs might have been selected from engravings of carvings in 
wood, sculptures in stone, pictures in windows, illuminations in 
manuscripts; but these engravings being for the most part repre- 
sentations at second hand, were not believed to be admissible in a 
catalogue which principally deals with original prints and drawings 
in the British Museum. No. 3 is an extremely interesting and 
beautiful work, conceived in a much finer and higher spirit than is 
common, and, apart from its poetic merits, embraces the higher orders 
of society. 

Satires on papal pretensions and their defeat are very numerous 
in this volume ; they begin with No. 5, which represents Henry 
VIII. trampling on the Pope, and are continued to the Revolution, 
and even later than that event. The most important among them 



ANALYSIS OF THE CATALOGUE. xvii 

are " Martyrdom of Reformers", No. 10; "Faiths Victorie", &c. 
No. 11; " Popish Plots", &c. No. 13; "The description Of Pur- 
gatorie", No. 29; "The Destruction of the Spanish Armada", &c. 
No. 41 ; and its sequels, Nos. 42, 43, 44, 45, 46, 47 ; No. 41 is the 
important example by Samuel Ward, which was repeated frequently, 
as in 1689, No. 1223, and so late as 1740, in " Spayne and Rome 
defeated"; the last proves that long after this famous design was 
issued, and under very different circumstances, it was considered a 
fit weapon against the Stuarts and papal aggression. The collection 
of satires on the papacy and its pretensions includes " Powder Plot", 
&c. No. 63; "The powder Treason", No. 67; "Execution of the 
Conspirators", No. 69 ; " Portraits of the Gunpowder Plotters", 
No. 71 ; " The Spanishe Parliament", No. 85 ; " Portraits of Jesuits 
and Priests", No. 86; "Portrait of Count Gondomar", No. 88, 
the last three being derived from the bitter and highly humorous 
text, " Vox Populi", by Thomas Scott, of Utrecht, comprising some 
very curious matter referring to Count Gondomar; the collection 
likewise comprises " No Plot, no Powder", No. 95 ; " The Frontis- 
piece to " A Thankfvll Remembrance ", &c. No. 98, by Bishop Carle- 
ton, and " The Baiting of the Popes Bvll", No. 100, which pertains 
to a political satire of the highest possible importance, not inferior to 
the famous Martin Mar-prelate tracts themselves, the latter being 
political satires of which this age has not yet fully ascertained the 
prodigious significance, notwithstanding that more than one writer 
has referred to " Oh read over D r John Bridges ". " The Baiting 
of the Popes Bvll " was written by Henry Burton, see " Portrait of 
Henry Burton", No. 138, a fellow-sufferer with Prynne and Bast- 
wick in the judgment procured by Archbishop Laud, a judgment 
of unsurpassed importance with regard to the fate of that prelate, 
and of great moment in English history. The entry respecting this 
woodcut is the first of several dealing with the religious persecutions 
of Charles the First's reign, and which will be referred to here in 
the enumeration of entries treating of that subject. Satires on papal 
pretensions and their defeat comprise, besides the above-named ex- 
amples, " Worke, More Worke, and a little more worke for a Masse- 
Priest", No. 112. For a long time after 1630, the date of this tract, 
direct satires on the papacy and its pretensions were few, antagonism 
to Laud, the " English Pope ", as he was called, and his bishops, the 
" magpies", engaging the energies of the satirists of this class. Satire 
on the Jesuits, such as "A discovery of the Jesuits Trumpery", 
No. 230; " The Black Box of Roome opened", No. 233; " Newes 
from Rome", No. 243, were not entirely exceptions to this remark. 
On the other hand, as the principles represented by Laud were 
entirely defeated when the archbishop was imprisoned, a new direc- 
ii. b 



xviii INTR O DUCT I ON. 

tion was given to satire, and diametrically opposite to that which 
formerly prevailed ; this was the case with regard to the class of 
satires on sectaries which will be analyzed presently. " Time carry- 
ing the Pope from England to Rome", No. 300, is a second link 
between the class of satires on papal pretensions and that which dealt 
with the disturbances in the English church. It is by Hollar, and one 
of many more by the same artist, being all of a single religious and 
political tendency, e.g. Nos.102, 103,137, 138, 139,141,144, 148, 264, 
the very remarkable " The Worlde's Rvled & Governed by Opinion", 
No. 272; the valuable "Portrait of John Williams, Archbishop", 
No. 340; and " Proverbs 11, 8", No. 166, the last being the frontis- 
piece to Prynne's "A Breviate of the Life of William Laud", 
" Canterburies Doome " and " Hidden Workes of Darkenes Brought 
to Publicke Light". That Hollar was the producer of these works 
may be taken to account for the neglect he experienced from the 
court of Charles the Second. 

Continuing an examination of this volume in search of satires on 
the papal pretensions and their defeat, the reader will find " Three 
figures of Ecclesiastics," No. 319, to be interesting; likewise Nos. 
378, 422, 697, " Truth flatters not", 785, 791. " The Popes Great 
Year of lubilee", No. 1048, dated 1675, proves that public attention 
was reverting to the subject in question here; this attention was 
intensified by the occurrences which gave such startling interest to 
the collection of prints dealing with the public feeling in respect to 
the murder of Sir Edmund Berry Godfrey in 1678. This collection 
will be noticed below. " The Ploters Executed", No. 1065 ; The 
Plot first hatcht at Rome", No. 1066, being one of a pack of playing 
cards devised in reference to the " Popish Plot " ; " The Devil ", 
No. 1068; " A Tale of the Tubbs", No. 1071, and its very curious 
text in verse; " The Solemn Mock Procession", No. 1072, all these 
refer to popular fears of papal aggression, the text of the last, not 
less than that which is quoted with an entry with the like title, 
No. 1085, is of very high interest in respect to this phase of national 
passion. On the same subject, and by no means inferior to the above, 
are " Babel and Bethel", No. 1076 ; " The Catholick Gamesters ", 
No. 1077 ; " The Devills Tryumph", No. 1079 ; The Committee", 
No. 1080, which is remarkable for its personal allusions, is a counter- 
satire to the above-named category. This, the more it is studied, 
increases in interest; the great number of still-existing impres- 
sions of this work prove how widely it was circulated. " Strange's 
Case", No. 1083, is another important example of this class of satires. 

1 Londons Drollery ", No. 1086, is anti-papal ; " The Popish Damnable 
Plot", No. 1088; "The Papists Lamentation", No. 1089; "The 

Tint in a Dream", No. 1090; "The Dreadful Apparition", No. 



ANALYSIS OF THE CATALOGUE. xix 

1091 ; " A True Narrative of the Horrid Hellish Popish Plot", 
Nos. 1092, 1093, likewise Nos. 1094, 1095, 1101, 1113, 1114, 1116- 
19, 1156, 1157-94, 1205, 1208, to No. 1230, are chiefly anti-papal. 
Fears of the papacy gave vitality to ( ' A Prospect of a Popish Suc- 
cessor", No. 1110, which heralded a large number of satires, ex- 
tending to the period illustrated by the second volume of this Cata- 
logue, and in the analysis of which volume further indications of 
anti-papal satires are given. Political satires on the alleged sub- 
servience of James the Second to Rome occur in numerous instances, 
and may rightly find place in this large and long-continued class of 
works. 

A satire on Queen Elizabeth occurs in No. 12 ; a satire on her 
enemies may be studied in " Popish Plots", &c. No. 13, which contains 
a comparison between this queen and her successor, not in favour of 
the former. No. 13 is full of historical matter and allusions, almost 
all of which are explained. 

A class of moral satires, if they may be so styled, is introduced 
by the series of illustrations to Stephen Bateman's " A cristall 
glasse of Christian reformation", beginning with " The Description 
of Wrath", No. 14, and ending with No. 29. See likewise " A 
Representation of Quackeries", &c. No. 82, which has been con- 
nected with the third Earl of Essex, of the Devereux family, and 
his divorced wife, afterwards Countess of Somerset. The same 
class is displayed in "The doleful Dance", No. 30; "Tittle- 
Tattle", No. 61, one of the richest illustrations of manners 
and customs which obtained during the reigns of Elizabeth and 
James I.; not remote from these is H. Peacham's " Sanctitas 
simulata", No. 83, dated 1612, in which the hat of Puritanism 
appears to be covering the Crown of England ; " O yes", No. 114; 
"The Dead Mans Song'', No. 115; "St. Bernards Vision", 116, 
Nos. 107, 108, 109, 110, 118, 119, 126, 131, 132, 423,424, 771, 
793, 794, 796, 802, 821, 822, 823, 841, 903, 904, 911, and 917 ; the 
second volume contains a small number of specimens of this class. 

The relationship between Holland and England is illustrated in 
this volume for the first time by a Dutch medal, dating 1585, No. 
31, and further, by entries from Nos. 32 to 40, incidentally in 
" The Destruction of the Spanish Armada", &c. No. 41, directly in 
the entries Nos. 48 to 55, in connection with Spain in " The 
Unhappy Game of Raffles", &c. No. 130. The connection is shown 
to be religious in numerous entries referring to the sectaries of the 
seventeenth century, e. g. The " Family of Love", founded by 
H. Nicklaes, of Amsterdam see below, the analysis of satires on 
sectaries. The connection appears in "Prognostic merveilleux", 
&c. No. 430; and bodes war in Nos. 741, 742, 744, when the English 



xx INTRODUCTION. 

and Dutch Republics were opposed ; and in the medals Nos. 749 to 
751, and in 754, in the last, we have the first print by Homey n de 
Hooghe, an artist whose works are frequently described in the first 
and second volumes of this Catalogue, especially under the dates 
1688-9 and 1700. The following likewise refer to Holland and 
England: " t'Engels-Kuipertje ", Nos. 757, 770, 803, in which a 
Dutch artist appears as an advocate for Charles II. ; 804, 818 ; " Dr. 
Dorislaw's Ghost", No. 837, is a protest against the murder of 
the English Envoy ; No. 839 refers to alleged cruelties practised at 
Amboyna ; No. 844 bears on this subject ; likewise Nos. 850, 854, 
857, 860, 863, 866, 874, the idea of which re-occurred more than 
once ; 877, 894, a satire which was again used, and with effect, 
against Sir Robert Walpole, before the downfall of that minister 
see " The Naked Truth", June, 1739. In " A Dutch Satire on 
Oliver Cromwell", No. 897, the Protector is declared to be Anti- 
Christ; an almost equally bitter attack on him is No. 918. Other 
Dutch satires occur in Nos. 919, 921, 1004, 1026, 1027, 1028, 1031, 
1034, where Holland and Spain are associated with England ; 1040, 
1045, 1047, 1055, which is an English satire on the Dutch ; " Sic itur 
ad astra", No. 1117, is a Dutch satire on the confessor of James II. ; 
such likewise is " The Great Laboratory", No. 1154, a work which 
appeared again with considerable alterations. James II. and the 
first Pretender are assailed in " I/Europe Allarmee", &c., Nos. 
1158-62, 1164, 1165, 1167, 1174, 1194, 1205, 1208, 1212, 1214 
to 1220, 1228, 1229, and 1233, all refer to the last-mentioned 
historical personages. 

The relationship of England and Spain is powerfully illustrated by 
Samuel Ward's design, " The Destruction of the Spanish Armada", 
&c. No. 41 ; the history and importance of this work have been 
referred to elsewhere. This matter gives interest to " Popish 
Plots", No. 13; "88. Ventorum Ludibrium" , No. 45 to Nos. 
46, 47, 48 ; " The Spanishe Parliament", No. 85, the text of which, 
like those of the remarkable " Portraits of Jesuits and Priests", No. 
86, and " Portrait of Count Gondomar" , No. 88, is due to Thomas 
Scott, minister at Utrecht; these three entries are particularly 
worthy of notice. See likewise Nos. 94, 130, " The Kingly 
Cocke", No. 133; " Magna Britannia divisa" ; No. 143, "The 
differance of Times, between those Times, and these Times"; No. 
894, which, long after its original publication, was employed as a 
satire on Sir Robert Walpole see the analysis of the second 
volume of this Catalogue ; " The King of Spain on the back of 
Holland", &c. ; No. 1034 is another important entry of this 
category. The momentous War of the Spanish Succession is dealt 
with in the second volume. 



ANALYSIS OF THE CATALOGUE. xxi 

Satires on James the First occur in the very curious "Beati 
Pacifici ", No. 56, which refers to the famous prophecy, 

" Mars, Puer, Alecto, Virgo, Vulpes, Leo, Nullus." 

See the cross-references to other entries concerned in this prediction. 
" A Cat May look upon a King", No. 57, is unique of its kind, 
being a double satire, comprising two prints which become satirical 
by their juxtaposition ; No. 58 refers to the alleged crimes, follies 
and vices of this monarch, who is concerned in " The Revells of 
Christendome", No. 81, and in No. 99. 

A collection of satires on. manners and customs obtaining in 
England during the period embraced by the first volume of this Cata- 
logue, might be formed with " Tittle-Tattle", No. 61, which has rich 
illustrations of home and civil life, including scenes of childbed, the 
market, the public bakehouse, the alehouse, washing linen by the river- 
side, at church, and at the bath ; No. 82, entitled " A Representation 
of Quackeries", &c., the work of Martin Droeshout, has been sup- 
posed to contain satires on those who contrived the death of the 
third Devereux, Earl of Essex, and the malpractices of his countess, 
afterwards the wife of the Earl of Somerset. In this print Dr. Simon 
Forman, the presumed poisoner, has a part assigned to him ; it is 
probable, however, that this print should be classed with the moral 
satires. However this may be, the design comprises numerous pictures 
of civil and domestic incidents, and several representations of the moun- 
tebanks of the seventeenth century. " Advice as to the Taming of 
Shrews", No. 89, pertains to this category; likewise "The Whip 
of Pride", No. 93 ; " The Armes of the Tobachonists", No. 113, and 
Nos. 131, 142, 203, 204; "The Socklington Faction", No. 268; 
" Mad Fashions", No. 330 ; " The Picture of an English Antick", 
No. 654, Nos. 786, 790, 794, 801, 802, 824; "Frontispiece to 
Anthropometamorphosis", 862, Nos. 880, 893, 980, 982, 1032, 1041, 
1120. The entries concerning the sectaries of the seventeenth 
century, and others which refer to the patentees and monopolists, 
contain a considerable proportion of satirical allusions to manners 
and customs ; see the analyses of these sections of the subjects. 

The Gunpowder Plot was referred to in " Popish Plots", &c., 
No. 13 ; " The Destruction of the Spanish Armada", No. 41, by 
Samuel Ward, and its copies, Nos. 42-7, and its sequel, " Powder 
Plot", Nos. 63-7 ; the caricature portraits of the plotters, Nos. 
71-4, and in No. 95. Tom Coriyat appears in the mocking illustra- 
tions to his " Crudities", Nos. 75-80. The Jesuits are the subjects 
of "Popish Plots", No. 13; "The Destruction of the Spanish 
Armada", No. 41, and its copies, above enumerated; " Portraits of 
Jesuits", &c. No. 86 ; " Magna Britannia divisa", No. 143 ; " The 



xxii INTRODUCTION. 

Rat-Trap", No. 147 ; " Archbishop Laud in a Bird-Cage", No. 174, 
which includes Father Philips, Nos. 229, 230, 235, 319,426; The 
Frontispiece to " Pyrotechnica Loyalana", No. 1030, marks the 
revival of fears respecting the Society of Jesus, which had been in 
abeyance for several years see No. 1054 to the same effect ; this 
was followed by the numerous series of prints referring to the 
murder of Sir E. B. Godfrey, above enumerated, from No. 1057 to, 
with a few exceptions, Nos. 1110, 1114; No. 1117 introduces the 
so-called Jesuit plot, it likewise refers to Father Petre. The same 
subject is described in many entries following the last-named one, 
especially Nos. 1138-42. The alleged plot of the Jesuits with 
regard to the birth of the first Pretender is introduced in " The 
Warming Pan", No. 1156, and continued in many other entries, 
with the dates 1688-9. See the analysis of the satires on the papal 
pretensions and their defeat. 

The patentees and monopolists of the reigns of James the First 
and Charles the First, although essentially different in their com- 
mercial characters, may be classed together. The satires on the 
former begin with the assault on Sir Giles Mompesson, No. 91. 
Many of the satires on Laud cast additional odium on that prelate 
as a monopolist of tobacco, as to which see No. 412. Alderman Abel 
with his "medium" wine appears for the first time in Hey wood's tract, 
described in No. 149, and is mentioned in No. 151 ; " Times Alte- 
ration ", No. 162; "An Exact Legendary compendiously Contain- 
ing the whole Life of Alderman Abel", No. 254, which contains 
references, see p. 194, to other satires on that monopolist and his 
fellows. " The complaint of M. Tenter-hooke the Proiector ", 
No. 263, is of this class of works ; see also Nos. 255 and 264, 
which are by Hollar. 

The persecution of the Puritans by Laud and others is the subject 
of many intensely energetic satires : see " The Portrait of the Rev. 
Peter Smart ", No. 102 ; " Portrait of Dr. Leighton ", No. 103 ; 
" Prevailing Prelats", No. 104; " The tottering Prelats ", No. 105; 
" Archbishop Laud dining on the Ears of Prynne, Bastwick, and 
Burton", No. 136, which contains numerous references to the mal- 
treatment of Prynne, his imprisonment, and that of his fellow- 
sufferers. No. 136, although but a rude woodcut, is one of the most 
interesting satires in the national collection. See likewise " Magna 
Britannia divisa", No. 143; "Archbishop Laud firing a Cannon", 
No. 148; and No. 149. "Old Newes newly Revived", No. 151, 
is a very comprehensive entry in dealing with Laud, his fellows, 
and enemies, the ecclesiastical courts, monopolists, Strafford, Lord 
Finch, Secretary Windebank, and many more. The several subjects 
thus combined in one satire are discoverable in the Catalogue by 



ANALYSIS OF THE CATALOGUE. xxiii 

means of the cross references which have been accumulated in this 
entry. Laud's proceedings, and those of his fellow prelates, are 
further illustrated in Heywood's tract, " Reader, Here you'l plainly 
see", &c., No. 149 ; " Proverbs 11. 8.", No. 166 ; " Archy's Dream", 
No. 167; Nos. 169, 174; " Canterburie Pilgrimage'', No. 180; No. 
181 ; " The Organs Eccho", No. 185, an illustration of one of the most 
famous political ballads; and in No. 218; " Lambeth Faire", No. 219; 
the same continues in Nos. 319, 412, 415, 416. The prelates who 
had taken part with Laud are satirized in Nos. 136 probably 
W. Pierce and Matthew Wren 137 to 142. " Magna Britannia 
divisa", No. 143, which is an almost inexhaustible satire ; No. 144, 
referring to the "Bishops' War"; No. 148, which is concerned with 
Wren and Archbishop Williams; No. 169, which is directed against 
Wren; so are Nos. 189-92, 207, 217-222, which chiefly concern 
Wren; also "Wrens Anatomy", No. 223, and " Newes from 
Ipswich" (by Prynne), No. 224; Archbishop Williams is the 
subject of Nos. 340 and 341. Laud's troubles, defeat, and execution 
are detailed in "Archbishop Laud", &c., No. 136, Nos. 148, 150, 
and in Nos. 161 and 166, which describes his trial; No. 173 shows 
him imprisoned, to which circumstance " Archbishop Laud in a 
Bird Cage", No. 174, refers; see likewise Nos. 175, 183, 185, 
comprising a triumphal song over the episcopal defeat; Nos. 188-92, 
198, 207, 209, 215-20, another triumphal song; Nos. 221 and 412, 
where he and his enemy, Henry Burton, appear to have changed 
places ; No. 413, which comprises a generous plea for forbearance 
for the doomed archbishop; Nos. 415, 416, 417, the latter three 
describe the execution of this prelate. 

The first of the satires on the sectaries is " A True Discourse", 
No. 134. Nos. 155-58 and 885-88 refer to the "Quakers" (see 
also the analysis of the second volume of this Catalogue) ; other 
sectaries are ridiculed in Nos. 206 and 210; the latter includes the 
Brownists, and the entry comprises references to other attacks on 
the same class, Adamites, &c. "New Preachers, New", No. 211, 
is rich in allusions, and contains numerous cross references to other 
satires of the same order. No. 245, and " The Brownists Conventicle", 
No. 246, " A Whip for the back of a backsliding Brownist" ; No. 247, 
"A Nest of Serpents", No. 248, and Nos. 250-3, comprise a series 
of attacks and replies between H. Walker, the man who threw in 
King Charles's coach the paper inscribed "To your tents, O Israel", 
and Taylor the Water Poet ; see the statement in " Taylor's Physicke 
has purged the Divel ", No. 250. These entries contain numerous 
cross references to other satires of this category and of different 
dates. Most of the entries are extremely curious. The Earl of 
Strafford is referred to in "Old Newes", No. 151, and in Nos. 181, 



xxiv INTRODUCTION. 

194, 195, 197, 199, 402, 415 and 416. It is noteworthy that Went- 
worth and Laud are satirized in very different fashions ; equally hated, 
the one was scorned, the other respected. The " Spiritual Courts" 
are the subjects of Nos. 200-5. The first faint hint of the Civil 
War occurs in " Captaine Vaul that Cruel Tyrant", No. 212; 
see likewise Nos. 305, 308, 312, 313, 341, 360, 361, 362, 367, 374, 
394, 395, 399, 400. Several of these entries refer to the alleged 
atrocities of Prince Rupert, and his defeat at Marston Moor. 
Adoniram Byfield, celebrated by Butler, is the subject of No. 385. 
Illustrations to the most important literary satire of the seventeenth 
century occur in " Illustrations to Hudibras", Nos. 432 to 645. 
Satires on the political ambition of women are named in " The Par- 
liament of Women ", No. 652, an entry which contains references 
to other works on the same subject. The contest between the 
Presbyterians and Independents, 1647, is displayed in " A Battaile 
Fought ", &c., No. 686, and in Nos. 687-690, 692, 702. The political 
steps which ended in the execution of Charles the First appear in 
the entries beginning with No. 717, and at intervals until the date of 
the king's execution in January, 1749. 

The Protector Oliver is the subject of numerous works, from 
" Portrait" &c., No. 741 ; Nos. 742, 744, and 784, where he appears 
with Fairfax; 754, where the Protector is said to be crowned 
king; 757, 769, 770, 818-20, 849-51, 857-59, 863, 865-6, 874, 
894-7, 901, 915, 923-4, 927, 952, 957, 1001-3. Richard Cromwell 
is concerned in Nos. 921, 928, No satires referring to the death of 
the Protector Oliver occur in the volume. The Levellers are indi- 
cated in No. 756. A few curious works on Richard Brandon, the 
supposed executioner of Charles the First, are named in No. 760; 
one of these publications comprises references to executioners of the 
period see "A Dialogue", &c. No. 762. The Ranters are 
described in Nos. 777-82 ; Charles the Second is introduced in Nos. 
<S04, 812; "The Scots holding their young kinges nose to y e 
Grinstone" ; and No. 814, " A Mad designe" ; Nos. 815, 816, 817 ; 
Nos. 949, 950, 974, 975, 979, 1029, 1034, 1055, 1064, 1065-8, and 
in the series of entries on the Popish Plot, 1679-80; No. 1130 shows 
the later life of this king. 

The proceedings and downfall of the Regicides, the " Rump", 
and its chief personages, occur in the illustrations to Butler's 
" Hudibras", c. 1645, and in Nos. 920, 929, 931-7, 945, 947, 954, 
959-61, 965-75, 977-9, 991, 996, 1007, and 1015. These works 
refer to Generals Desborough, Harrison, Fleetwood, Ireton, and 
Lambert; Colonel Hewson, President Bradshaw, Lisle, Hugh 
Peters, Tichborn, Henry Marten, Sir A. Haslerigge, Sir H. Vane, 
tead, the Speaker Lenthall, Scobell, Sir II. Mildinay, Scott, 



ANALYSIS OF THE CATALOGUE. xxv 

Barbon, and Lord Monson. The revolt of the Fifth Monarchy men 
is considered in "Portrait of Thomas Vernier", No. 996, and the 
entries to which it refers. Satires on Titus Gates are referred to 
en masse in " Dr. Gates' s Wedding", No. 1292. Satires on the 
murder of Sir E. B. Godfrey have been enumerated above. The 
Earl of Shaftesbury is distinguished in " The Wine Cooper's 
Delight", No. 1116. See also the analysis of the second volume 
of this Catalogue. 

James the Second is the subject of many works here described, 
e.g. Nos. 1151, 1152, 1155, comprising the Trial of the Seven 
Bishops; as to this event see Nos. 1168-73. The satires on the 
birth of the first Pretender have been already named. The abdica- 
tion of James is dealt with under the date of that occurrence. 

It being desirable to divide the first volume from the second 
at a narrowly defined date, that of the coronation of William III. 
and Mary II., April 11, 1689, was, for obvious reasons, preferred; 
on this day the new dynasty began to reign. With the entries of 
this date those satires of 1689 which referred generally to the con- 
test then waged between Protestantism and Roman Catholicism 
were classed, and the first volume concludes with these general 
satires, and, in effect, the reign of James II. in England was at an 
end. The second volume begins with a Dutch satire, having a his- 
tory of its own, and derived from a previously-described work see 
" Arlequin sur PHippogryphe", &c. No. 1205. This seems to pre- 
dicate the downfall of James's hopes in Ireland, and is confirmed in 
that respect by the prints then following, Nos. 1238-53, except 1250. 
The last is a remarkable satire on Dutch politics, as connected with 
England by a rule, common to both countries, and by certain allusions. 
The most interesting elements of this group of satires are ' ' Mardi gras 
de Cocq a 1'ane", No. 1238 ; "Reported death of William III.", No. 
1241 ; and the replies provoked by the latter, being No. 1243, with the 
same title; and " Pantagruel Agonisant", No. 1245. " The Heretical 
Synod at Salters-Hall", No. 1262, has domestic allusions of some im- 
portance. ff The usurpers habit", No. 1267, is a very curious satire on 
Louis XIV. and the decline of his fortunes, the history of which was 
afterwards illustrated with great amplitude of detail and abundance 
of triumph, and concluded with the " Louis XIV. and William III. 
meeting in the Shades ", on the death of the French monarch, Sept. 
1, 1715, No. 1593. " Le Crieur de Versaille", No. 1269, is not 
only remarkable on its own account, but as the first of a numerous 
collection of examples illustrating the momentous Battle of La 
Hogue, which set the seal of calamity on the history of the Stuart 
family and disposed of the claims of James II. for a long time to 
come; " De laaste Afsceydts Dronck van Koninck Jacobus", No. 



xxv i INTRODUCTION. 

1278, has, not without a touch of sympathy, the clearest prevision of 
the fate of the ruined king, and is a valuable cotemporary repre- 
sentation of the characters of important personages. " Desolaten 
Inventaris van de Franse Wracken", No. 1279, and those entries 
which follow it, Nos. 1280 and 1281, may be classed with songs of 
triumph for the victory of La Hogue. The wars of William and 
Louis are further illustrated by the entries Nos. 1285-91. 

Dr. Titus Gates, a frequent subject of satire, connected more or 
less directly with numerous works described in the first volume of 
this Catalogue, comprised between Nos. 1057 and 1095, appears 
again in " Dr. Oates's Wedding", No. 1292, a satire characteristic 
of its author, the so-called " Tom Brown". 

The " universal monarchy" of Louis XIV. is assailed in No. 1293, 
" L'Enterrement De la Monarchic universelle ", &c. ; at a later date 
the same subject was revived in other satires see the references 
given in the last paragraph of " The Tomb of Universal Monarchy", 
No. 1458. The illustrations to various editions of Swift's " A Tale 
of a Tub" supply the entries numbered from 1298 to 1333. The 
history of " Paye que Tombe", No. 1337, has been noticed above. 
" The Quaker's Synod", No. 1339, contains references to numerous 
other satires on the Society of Friends, for more than these, see 
the analysis of the first volume. " De Grooten Waereld Verdeelder", 
No. 1340, not less than "La France Lamentant", No. 1455, signalizes 
Madame de Maintenon. The popular belief that this famous lady had 
begun life as a poultry keeper is illustrated by the satirical playing- 
card described as (t A Satire on Louis XIV. and Madame de Main- 
tenon", No. 1565, hence the ironical inquiry, "How do you sell 
your turkeys now ?" She and the French king, whose later policy she 
guided, are ruthlessly assailed in "The Distress of Louis XIV", 
Nos. 1446-50, comprising a design the remarkable history of which 
has been already mentioned. The immediate occasion in view was 
the loss of the Battle of Ramillies. 

The history of the War of the Spanish Succession, so closely 
allied with that of the "Universal Monarchy," is elucidated, 
and popular opinions respecting it are amply illustrated in nume- 
rous prints, beginning with " De Grooten Waereld Verdeelder", 
No. 1340, and concluding with " Het hof van vreede onder de roos", 
No. 1580. This collection of works is one of the most complete, 
varied, and interesting in the whole range of the satires here cata- 
logued. It includes references to all the leaders and prominent per- 
sons on both sides, i. e. Louis XIV., William III., Queen Anne, the 
Dauphin, Madame de Maintenon, Philip of Anjou, afterwards Philip 
V. of Spain, his rival Charles of Austria, the Duke of Marlborough, 
Cardinal Porto-Carrero, the Duke of Bavaria, Pope Clement XI., 



ANALYSIS OF THE CATALOGUE. xxvii 

Prince Louis of Baden, the mistresses of King Louis the Duchesse 
de la Valliere, and Madame de Montespan, and his son the 
Count of Toulouse, the Due de Vendome, the Duke of Berwick, 
the French, English, Dutch, German, and Spanish commanders of 
several grades, the Duke of Savoy, the first Pretender, the first 
Earl Stanhope, and many others of inferior fame. It may suffice to 
indicate the more important entries connected with this momentous 
subject. These are "De Grooten Waereld Verdeelder", No. 1340, 
" A Satire on the Testament of Charles II. of Spain", No. 1341, 
and the works named in the last paragraph of this entry, the com- 
plete series of forty Dutch tracts, now for the first time translated 
in abstract, which begin with ".^Esopus in Evropa", No. 1345, and 
continue in unbroken order to " De Geplukte Tapoeijer", a satire 
on Louis XIV.'s defeat, No. 1381 ; besides " Europe in Rouw", No. 
1420; " De Waarheid Boven Al ", No. 1421 ; and "De OntdekteEen- 
hoorn", No. 1422. The War of the Spanish Succession is further 
illustrated by the prints referring to the Battle of Vigo Bay, " De Ban 
en Arrier-Ban in Zee", No. 1426 ; " Cambio de Milan", No. 1427 ; 
" A Satire on the alleged Treachery of Prince Louis of Baden", No. 
1444 . a The Distress of Louis XIV." No. 1446, and its fellows, 
Nos. 1447, 1448, and 1449; " Louis XIV. terrified, &c.", No. 1450, 
belongs to the same numerous category, with " Le Renversement de 
la Monarchic Universelle ", No. 1453 ; " Portrait of King Charles 
III. of Spain", No. 1454; "La France Lamentant", No. 1455; 
"The Capitulation of Menin", &c., No. 1456; "The Tomb of 
Universal Monarchy ", No. 1458 ; " Prince Louis of Baden asleep", 
No. 1459; " Ludofricus", No. 1460; " De Vervelde Bander-heer 
Van Beyeren", No. 1471 ; " Castilien Hervormd", No. 1472, a very 
curious and rich satire; " The Dutch Grindstone", No. 1577 ; and 
" Balans van Oorlog en Vrede," No. 1578, which brings in the 
Peace of Utrecht. The series of Dutch satires referred to above as 
beginning with " .ZEsopus in Evropa ", No. 1345, are especially note- 
worthy ; the etchings they include are the works of Komeyn de 
Hooghe. 

A series of domestic satires begins with the humorous assaults on 
Partridge the almanack maker, in " The Infallible Astrologer ", 
No. 1382. This includes many works pertaining to the books of 
" Tom Brown", commencing in " T. Brown's Works in Prose and 
Verse ", No. 1388, and concluding with " The Speech of Waltho 
Van Cluturbank ", No. 1406, and " A Description of the Coledge of 
Physicians", No. 1412. Colonel Charteris appears for the first time 
in " Colonel Charteris Contemplating the Venus of Titian ", No. 
1411. "The Compleat Auctioner," No. 1415, is a print noteworthy 
for its references to literature. 



xxviii INTRODUCTION. 

The year 1706 is signalized in the history of English satire by 
the appearance of a large number of pictorial attacks on the leaders 
ami objects of the opposed sections respectively styled the High 
Church and the Low Church parties. " The High-Church Hiero- 
glyphick ", &c., No. 1465, is the first of these satires described in this 
Catalogue ; the next print is that entitled " Roundheads & Whigs 
Compared", No. 1494; with it is included the very curious broadside 
" The Last Will and Testament of Anthony King of Poland ", i.e. 
the Earl of Shaftesbury, who is represented in the print, although he 
died long before its republication. The contest between the High 
Church and Low Church parties is the leading subject of a numerous 
series of engravings beginning with " The Jacobites Hopes ", No. 
1495, and concluding with " Queen Anne defended by Peace and 
Justice", No. 1583. A very rich and important collection of satires 
is described in the entries thus comprised. Some of the prints are 
of extreme rarity, and these and others contain allusions to cotempo- 
rary persons and events which are of great interest. The passions 
prevailing at the time are laid bare in these outspeakings of the 
vulgar as well as the educated men of the period. The first 
Pretender is prominent in many of these satires, being the often- 
mentioned "Perkin", who is supposed to be " rideing in Triumph" 
in "The Jacobites Hopes", No. 1495, and who is driven by the 
devil in " Needs must when the Devil drives ", No. 1496, a satire 
the notion of which has been frequently repeated since 1709, and 
remarkably so in several of the prints which describe the downfall of 
Sir E. Wai pole in 1743. Dr. Sacheverell is the subject of " The High 
Church Champion, and his two seconds" (the Devil and the Pope), 
No. 1498, and of the other prints, Nos. 1499 and 1500; the first of 
these prints provoked the counter-attack of " To the unknown 
Author of the High Church Champion", &c. No. 1501, and that 
rejoinder to the last which is styled " The Schismatical attack ", 
No. 1502, an entry which comprises a reference to the very nume- 
rous and rich collection of satires on the Low Church leader Dr. 
Hoadly. " Guess att my Meaning ", No. 1503, is highly interesting, 
because it contains the earliest known reference to the alleged exist- 
ence of a coarsely-named tract, which is ascribed to Richard Baxter, 
the famous Nonconformist divine. There are other references to this 
tract in " Faction Displayed", No. 1508, and Hoadly seated at a 
Desk", No. 1533. The Cataloguer's inquiries into the history of 
the alleged tract compelled adoption of the belief that it never existed 
except by name and in the brain of one of Baxter's opponents. This 
matter is dealt with in " Faction Displayed ", No. 1508. 

Among the most curious of the "High and Low Church" 
satires are the above-named prints, and " Frontispiece to "Crispin the 



ANALYSIS OF THE CATALOGUE. xxix 

Cobler's Confutation", No. 1511; "The British Censor", No. 1512; 
"A Description of the Calve's Head Club", No. 1517, in this a 
political society appears which was satirized again in 1730. See the 
references given with " The Westminster Calf's Head Club", 
No. 1518. The extent of Sacheverell- worship, as the political 
opponents of that divine styled one form of the enthusiasm of 
their antagonists, appears in " The High Church Champion Pleading 
his own Cause", No. 1499 ; "Faction Displayed", No. 1508; " A 
Youth seated at a table", No. 1514 ; "Portraits of Six Bishops", 
No. 1522. This same feeling is strongly manifested in " An Histori- 
cal Emblematical fan", No. 1525; "The Living Man's Elegie", 
No. 1527; and "An Answer to the Liveing Mans Elegy", No. 
1545. " Cards about Dr. Sacheverell", No. 1546, shows the cul- 
mination of this enthusiasm, which continued with " Wonders 
upon Wonders", No. 1549. Dr. Sacheverell was assailed 
in "Needs must when the Devil drives", No. 1496; and in 
"The modern Idol", No. 1513, where he is compared with the 
Grand Llama, and " The III Oculists", No. 1570, where he is 
associated with Read and Grant, two notorious quack eye-doctors. 
Dr. SacheverelPs antagonist, Dr. Hoadly, was the subject of attack 
in " Like Coachman, Like Cause", No. 1497, where he rides as 
postilion with the Devil, and blows " Tantara Low Church" on a 
horn. " Guess att my Meaning", No. 1503, is one of the bitterest of 
these assaults. It is Hoadly who, in all probability, is described as 
"A British Janus" in No. 1505; he appears again in "The 
Turncoats", No. 1507, and "Faction Displayed", No. 1508; "The 
Whigs Idol", No. 1509, associates him with the executioners of 
Charles I. " Frontispiece to " Crispin the Cobler^s Confutation", 
No. 1511, is against this divine, likewise are " The Funeral of the 
Low-Church", No. 1531; "Hoadly seated at a Desk", No. 1533; 
" Frontispiece to " The Fifth and last Part of Vulgus Britannicus" , 
No. 1540; "The Apparition", No. 1569. Dr. Hoadly is depicted 
in most of the satires which are named above as opposing Sacheverell. 
He again appears in satires which are dated 1735, and not included 
in the present volume. 

A quarrel amongst learned men is illustrated in " A Satire on 
Learning", No. 1516; this entry was made exhaustive in order to 
display the new and brilliant form of satire which is first presented 
hereby its means; " der Satyr Silenus", No. 1515, is associated 
with this very remarkable example. " An Illustration to " Miscel- 
laneous Works of Dr. William Wagstaffe", No. 1568, pertains to 
the same category with the last ; likewise " A Medal Struck to re- 
present Horace", No. 1574, which assails Dr. Bentley ; " Mr. 
Toby", No. 1586, an assault on Steele; in "In State Opinions Ala- 



XXX 



INTRODUCTION. 



mode", No. 1591, comprising the younger Burners attack on 
Swift; "Curll flogged and tossed in a blanket", No. 1606; "A 
Satire on the frequenters of Button's Coffee House", No. 1701 ; 
" Antiqvity Hall", No. 1704; "Thomas Hearne and the Printers", 
No. 1705; and "The Frontispiece to the first Volume of "Terra? 
Filius", No. 1727. These illustrate disputes of men of letters pre- 
vious to the appearance of " The Dunciad". The last-named event is 
recorded in these pages by means of several satires, of which the first 
is " The Frontispiece to " The Dunciad", No. 1793. " The Frontis- 
piece to "Ingratitude", No. 1935, contains a series of references to 
Pope, and will serve as a key to numerous allusions to that poet and 
his quarrels. "Stella!" No. 1819, being the frontispiece to Dean 
Smedley's " Gulliveriana", is noteworthy for its numerous allusions 
to literary men and for a forcible attack on Swift. Quarrels of 
literary men are further displayed in ts Risum teneatis amici?" No. 
1833 ; " Serpentes avibus geminentur", No. 1834 ; and " The 
Oratory", No. 1871. See the references to Orator Henley which 
this entry comprises. 

Some of the undercurrents of political passion are distinguishable 
in " A Description of the Calve's Head Club", No. 1517, a note to 
which entry directs the student to other references to that quasi- 
secret society. One of the trivial amusements of our ancestresses 
is shown in " The Ingenious and Diverting Love Letter in Hiero- 
glyphicks", No. 1551, and its fellow puzzles, Nos. 1552 and 1553. 

The attempt of the Marquis of Guiscard to murder the Earl of 
Oxford, March 8, 1711, is illustrated by "The Devil in Masque- 
rade", No. 1567, an entry which contains some striking facts of the 
event, and the treatment vouchsafed to the corpse of the marquis. 
Social disorders of that period are displayed in "Riots in 
Bloomsbury ", No. 1581, and "A Riot in a Tavern", No. 
1582. The most curious of all the satires on distinguished 
politicians which this volume contains is that entitled " Lord 
Bolingbroke ?" No. 1588, referring to a print of extreme 
rarity, satirizing a lady who was celebrated by Pope and others, 
as well as to William Pulteney, afterwards Earl of Bath. The 
subject of this satire was obscure, but additional light has been 
thrown on it by the Cataloguer's researches. References to other 
s;il ires connected with Bolingbroke are given with this entry. 
The death of Louis XIV. evoked " Louis XIV. and William III. 
meeting in the Shades", No. 1593, an entry with which the satires 
on the former monarch contained in the Catalogue conclude. The 
"Rebellion" of 1715 is the subject of "Rebellion of 1715", No. 
1594, and Nos. 1595, 1596, 1597, 1599, 1605, and 1607. 

The most numerous, the richest and most varied series of satires in 



ANALYSIS OF THE CATALOGUE. xxxi 

this Catalogue is that on the catastrophe of the South Sea Com- 
pany and its allies, the Mississippi and West India Companies, 
which begins with "The Bubblers Medley", No. 1610, and con- 
cludes, with but few intervals in the sequence of entries, with 
Hogarth's early work, ff An emblematical print on the South Sea 
Scheme", No. 1722, comprising about one hundred entries, which 
describe not fewer than two hundred and fifty distinct designs. A 
considerable portion of this mass of descriptions and illustrations 
refers to prints of Dutch origin, the texts of which have been here, 
for the first time, translated into English in abstract ; all the inscrip- 
tions on the plates have been translated in full. It is presumed 
that this is the richest contribution to the history of a disaster which 
was the first of its kind in England. In this series of entries the 
multitudinous allusions to the details of the commercial fury in 
question have been, in all important points, explained and illus- 
trated. The most important entries are numbered 1610, 1611, 
1612, 1615, 1620, 1621, 1622, 1632, 1638, 1639, which contain 
references to satires in which John Law of Lauriston, the originator 
of the mania, is concerned. No. 1642, "April-Kaartof Kaart Spel", 
comprising fifty-four distinct designs, being a pack of playing cards 
of the kind which occasionally occurs in these volumes, is probably, 
except " Magna Britannia divisa," No. 143, the richest satire in exist- 
ence, and has received attention according to its character. The course 
of events connected with these schemes as they affected England, 
Holland and France, is further displayed in the above indicated 
entries, and the subjects of those entries have been selected for this 
Catalogue from many more in charge of the Department of Prints 
and Drawings, with strict regard to their connection with Great 
Britain, and John Law, a Scotchman, whose plans disturbed the 
three nations in question. It may be mentioned here that no 
satirical reference to the Darien Scheme, which affected Scotland, 
has been found. Besides the above-named works, the following are 
important on the subject of this paragraph: Nos. 1653, 1655, 1658, 
1659, 1660, 1661, 1671, 1686, which contains the personal history 
of John Law, and No. 1689, which refers to Mr. Robert Knight, a 
subject of Pope's repeated satire, Cashier of the South Sea Com- 
pany; several persons of distinction in the court of George I. are 
dealt with in " Eobin's Flight", No. 1707, which contains refer- 
ences to other works on the same subjects. 

The first of a collection of satires connected with the early history 
of the opera in England occurs in " The Landing of Senesino", 
No. 1694, and that collection involves references to Handel, Por- 
pora, Carestini, Farinelli, and Berenstat, Mesdames Faustina, 
Cuzzoni and others. The more important entries of this kind are 



xxxii INTRODUCTION. 

" Masquerades and Operas", No. 1742, by Hogarth; and " Beren- 
etat, Cuzzoni, Senesino, &c.", No. 1768. The masquerades, fruitful 
of satire, and Heidegger, their promoter, are dealt with in many 
entries, e.g. "Masquerades and Operas", No. 1742; " Ilei ! 
Degeror", No. 1747 ; " Masquerade Ticket", No. 1799, and others 
of less importance. The contest between the drama and panto- 
mime, which was so ardently waged at this period, and the theatrical 
history of Rich, the pantomimist, are displayed by means of " A 
Just View of the British Stage", No. 1761, by Hogarth; "The 
Stage Medley", No. 1806; "The Beggars' Opera", No. 1807; 
"Punch kicking Apollo", No. 1832; " Risurn Teneatis Amici?" 
No. 1833, " Serpentes avibus geminentur", No. 1834, " Shakes- 
pear, Howe, Johnson", &c., No. 1838 ; " The Stage's Glory", No. 
1869; "Rich's Glory", No. 1899; and A Scene in "The 
Blazing Comet", No. 1902; "The Stage Mutiny", No. 1929; 
"Gibber", No. 1933; "Theophilus Gibber", No. 1934; and 
Hogarth's " South wark Fair", No. 1960, refer to stage players 
and their fortunes at this period, and are remarkably rich in per- 
sonal allusions. The last paragraph of " The Stage's Glory", No. 
1869, contains references to all the satires on Rich. 

The lotteries are largely illustrated in " The Lottery", No. 1730, 
and the references to other entries which it contains ; " Wood's 
Halfpence", No. 1749, refers to the scheme for supplying Ireland 
with copper coins, which excited to the utmost the indignation of 
Swift, producing " The Drapier Letters". The next important 
subject of satire is the imposture of Mary Tofts, the " rabbit-breeder" 
of Godalming, which occupied the pencil of Hogarth ; the matter is 
probably exhausted in the entries which range from No. 1778 to No. 
1791. 

" The Dunciad " has a large section to itself in " The Frontis- 
piece to "The Dunciad", Nos. 1793, 1794, and 1795, " Fronti 
Fides", No. 1812, and Nos. 1813 and 1814; "Taste", No. 1873. "M r . 
Alexander Pope", No. 1880, and " The Frontispiece to " Ingratitude", 
No. 1935, were provoked by "The Dunciad". It is, perhaps, to 
be regretted that no edition of this poem, comprising prints admissi- 
ble to this Catalogue as illustrations of the text, has been found. 
Many of the subjects of Pope's poem are, nevertheless, to be observed 
in the personal satires included in the entries which deal with the 
stage and pantomime, as before indicated. Many of these satires are 
illustrated by means of " The Dunciad ", and the imitations of and 
rejoinders to that work. 

Sir Robert Walpole supplied a subject for numerous attacks, 
beginning with "Robin' 8 Game", No. 1821, and, so far as the 
second volume is concerned, extending to " Frontispiece to " The 



ANALYSIS OF THE CATALOGUE. xxxiii 

State Juggler", No. 1940. Satire was abundantly employed by 
the political opponents of this minister, and he strove vigorously 
to take this weapon from their hands ; the history of his 
efforts in this matter is to be discovered in the text of " Robin* 
Reign ", No. 1822, the seven designs which served as frontispieces 
to " The Craftfman ", a political journal of great importance, 
directed by " Caleb D J Anvers " (Nicholas Amhurst), in the inter- 
ests of Bolingbroke and Pulteney. The publication of " Robin'* 
Game or Seven' 8 the Main", No. 1821, marked with extraordinary 
emphasis an epoch in Walpole' s career ; the history of the print and 
the prosecutions which attended its appearance is sketched in 
"Robin 8 Reign", No. 1822. Other satires on Walpole appear in 
Nos. 1830, 1831, and 1839 ; but the history of none of these is so 
curious as that which came again to light during an examination of 
several impressions of " To the Glory of the R*. Hon ble . S r . Robert 
Walpole", No. 1842. This has been described above. Con- 
tinued examination of this volume of the Catalogue will dis- 
cover further satires on Walpole, most of which are connected 
with events of the highest importance ; among these satires should 
be noticed "Mr. Pulteney's duel with Lord Hervey", No. 1867, 
"The Duel", &c., No. 1868; "Excise in Triumph", No. 1918 
the first print to refer to the Excise Scheme, that measure the 
issue of which ensured the downfall of the minister, and evoked 
many of these satires. The entries on the Excise Scheme are num- 
bered 1918 to 1928, 1931, 1936 to 1940. When he painted the 
famous political satire called " The Politician", No. 1978, Hogarth 
doubtless intended to represent a London tradesman reading a news- 
paper essay on the Excise Scheme. References to satires dealing 
with this Scheme will be found in a note to " To the Hon- 
ourable the South- Sea-Company ", No. 1904. 

A certain number of the early works of Hogarth succeed the 
satires on the Excise Scheme these are " M r . Gabriel Hunt ", 
No. 1941; "Boys peeping at Nature", No. 1943, being the sub- 
scription ticket for " A Harlot's Progress ", " The Laughing 
Audience ", No. 1949, being the subscription ticket for " South - 
wark Fair " and " A Rake's Progress " ; " Southwark Fair ", 
No. 1960; "A Chorus of Singers", No. 1969; "The Poli- 
tician", No. 1978. The entries which follow these to the end of 
the volume in No. 2013 are classed under c. 1733, because, being 
somewhat indefinite in their character, it has been convenient to put 
them at the end of a volume which closes with a period of time. It was 
considered desirable to close the volume at this date on account of 
the importance of the defeat of the Excise Scheme in 1733, an event 
which indicated the approaching end of Walpole's power, and was 

ii. c 



xxxiv INTRODUCTION. 

of enormous political significance ; also because, although Hogarth's 
genius was distinguished in " Southwark Fair ", his " A Harlot's Pro- 
gress " is not only full of satirical allusions, but in every sense is 
a masterpiece of satiric art. Published in 1734, " A Harlot's Pro- 
gress " seems to mark the beginning of a new period. 

The total number of distinct designs described in both volumes of 
this Catalogue is 2808. 

This Catalogue has been prepared by Mr. Frederic George 
Stephens, under the direction of the Keeper of the Prints and 
Drawings. 

GEORGE WILLIAM REID. 

Oct. 8, 1873. 




SATIRICAL PRINTS AND 
DRAWINGS; 1 



PERSONAL AND POLITICAL. 




1236. 

Y HOLT HY HOLT. 

[He Runs! He Runs!] 
The threatened failure of James II.'s 
Expedition to Ireland. 

{June, 1689] 

THIS mezzotint comprises an adaptation and partial copy 
from the design of the etching, " Arlequin sur 1'Hippo- 
gryphe a la Croisade Lojoliste", 1689, ~No. 1205, by Romeyn. de Hooghe. This 
version illustrates the probable decline of the interests of James II. in Ireland, as 
the original had displayed him, as Panurge, setting forth on the " Croisade 
Lojoliste," and mounted on the back of the wild ass of the " Jesuit Monarchy," 
in company with Harlequin Deodaat with a wooden leg (Louis XIV.) These, 
with Father Petre, who, with the papal tiara behind him, is mounted on a lobster 
and carries the Pretender, son of James II., i. e. " the new-born Anti-Christ," 
were about to depart for Ireland in a procession, bearing banners, which represent 
Father Garnet, Catesby of the Gunpowder Plot, " Father Clement" who murdered 
Henry III. of France ; the procession includes monks, friars, and other members 
of the " League of the Jesxiits." The Bishop of Strasbourg lies fallen from a 
tortoise into the Rhine, nearly losing his Cardinal's hat. 



1 This is a Catalogue of Works in several Departments of the British Museum : 
the greatest number being in the Print Room, are not so described. 

Examples pertaining to the Department of Printed Books are, below the 
entries in this Catalogue, distinguished by their press-marks. References occur 
in the texts of these entries to books in charge of this Department, and press-marks 
follow the titles and dates of the books ; these are enclosed by brackets, thus 
(899. m. 6/28.) As all such references are to volumes belonging to that Depart- 
ment, it was not necessary to state that the press-marks are those of the Library of 
Printed Books. 

II. B 



2 WILLIAM III. [1689 

The mezzotint has a black background, the figures of " l", Louis, " 2", James, 
" 4 ", Father Petre, the Pretender, and the Bishop, " 5 ", are shown ; a new 
figure is introduced, being that of " 3", a young man in full armour, having a 
sword in his hand ; with the weapon he attacks " 6 ", the wild ass. The warrior 
is doubtless introduced emblematically of William III., or, in his person, Free- 
dom and Protestantism ; James appears already to have received a blow, for he 
is falling back in the saddle, his Jesuit's hat drops from his head and he seems 
unable to raise his sword. His fellow-rider on the wild ass, who is unharmed, 
turns round in the saddle and tries to encourage him. Father Petre, who 
holds a large stoup of hot holy water, looks wrathfully at the warrior. The 
Bishop retains his hat on his head, but with difficulty, holding its broad brim 
with one hand ; he has fallen into the water. 

Below the design the following lines are engraved : 

" Hy Holt Hy Holt 

1 . Couragie mon Amy myn goede Vriend bon moed, 

2. Helaas ik kan neit meer, ik moet er af, o bloet : 

3. Hola bon stand Messieurs niet verder volg myn raat, 

4. O die't ont snappen kan, doet nu een wyse daet 

5. Waer droes val ick hier neer, met myn fondaagse Hoed 

6. Voor my 'k ga agter uyt, 't hel werk raakt onder voet. 

En dat is Goed." 

[He Runs ! He Runs ! 

1 . Courage, my friend, my good friend, Courage, 

2. Alas ! I can no more ; I must fall down, o Misery ! 

3. Holla ! keep there, Messieurs, not farther, follow my advice 

4. O ! he who can escape the danger, does a wise deed, 

5. Where the deuce do I fall here with my nice Sunday hat. 

6. As for me, I go back, the whole work is lost. 

And that is good.] 

This appears to be one of the number of mezzotint copies of etchings of 
this category to which " Little Dog, sit up !", No. 1225, belongs. They belong 
to no series, but are connected with each other in their subjects, and are alike 
in style. They are without engravers' names, but were probably the works of 
J. Gole or C. Dusart. 

6 j. X 9| in. 



1237. 

THE MEMORABLE BATTLE FOUGHT AT KILLY CRANKIE. BY 
CHIEF CLAVERS AND HIS HIGHLAND MEN. To the Tune 
call'd Killy Cranky. 

{July 27, 1689] 

A broadside with a woodcut representing a fight between two parties of soldiers, 
neither of which wear kilts. On our right a man on horseback is galloping away ; 
on our left a party of men advance on foot. 
Below are these verses, in letterpress : 



" CLAVERS and his Highland Men 
Came down upon the Raw then, 

Who being stout gave many a Clout, 
The Lads began to claw then : 



1689] WILLIAM III. ( 

With Sword and Targets in their Hands, 

Wherewith they were not slaw then, 
And Clinkin Clankin on their Crowns, 

The Lads began to claw then. 

" O'er Brink and Brank, o'er Ditch and Stank, 

He staik amang them a' then, 
The Butter-box 1 got many Knocks, 

The Riggans pay'd for a' then 
They got their Paiks with sudden Straiks, 

Which to their Grief they saw then, 
And double Dunts upon their Rumps, 

The Lads began to fa' then. 

" Her skipt about, and leap'd about, 

Her flang amang them a' then, 
The English Blades got Broken Heads, 

Their Crowns her clave in twa there, 
The Durk and Door made their last Hour, 

Such was their final fa' then, 
They thought the D 1 had been there, 

That gave them such a Paw then. 

" Jock Presbyter an's Covenant 

Came whigging up Hill then, 
Though Highland Trews would not refuse, 

For to subscribe the Bill then ; 
In William's Name he thought na Shame, 

Would stop the Deed at a' then ; 
But her nane fell Stock, with many a Knock, 

Cry'dfurtch Whigs awd then. 

" Sir Hugh Macdow with his Men true, 

Came skiping o'er the Brink then, 
The Hogan Dutch that feared such, 

They bred a horrid Stink then, 
The true Maclain his Gate has gane, 

And came upon a Raw then ; 
None could withstand his heavy Hand, 

He stake with such a Paw then." 

The same woodcut was used for " An Excellent New Ballad, intitled The 
Cripple of Cornwall," C. 2O. f. "Roxburghe Ballads," vol. iii. p. 616. 

5 X 2f in. Brit. Mus. Library, C. 2O. f. " Roxburghe Ballads," 

vol. iii. p. 404. 



1238. 

MARDI GRAS DE COCQ A L'ANE. 

Franse Kael-ender, Beginnende vander Onnoosele Kin- 
deren-dag 1689, tot de Borgers Goe-Vrydag A 1690. 

[French Calendar, beginning with the Day of the Murder 
of the Innocents (Dec. 28) 1689 to Good Friday, 1690. 

1 Dutchmen, or Dutch soldiers, see " The Great Butter Box," No. 854. 



4 WILLIAM III. [1689 

French " Kael-endcr " is a pun, referring to Bald (or 
miserable) endcr]. 

Tot Antwerpen, By Cornells Woons, op de Melck-Mart, in de Guide Steere, 
1690. [Dec. 28, 1689] 

AN etching representing France "2", sitting upon a close-stool "Pour le service 
de mes Alliees." Under her feet are her allies, Spain and Bavaria (?), and she is 
applying to an ignoble use the treaties she had made. She is fully armed, and her 
helmet is crested with a cock " 7 " ; near her, mounted upon an ass, is the dauphin, 
madly brandishing a blazing torch and drawing his little sword ; before him 
is seated the infant Prince of Wales, " 2", also brandishing a little sword and playing 
with a windmill. These are the three " Kings " referred to below. See " L'Europe 
Allarmee pour le fils d'un Meunier," No. 1 1 58. Behind France is, " 8 ", a 
half-naked figure (" the wife " of Louis XIV. (?) ) with a sword, the handle of 
which is decorated with fleurs-de-lis, the blade composed of pieces of money ; * 
before this figure is a shield bearing three frogs, and inscribed " La France per- 
secutee" and resting upon a " Tronc pour la monarc des Jesuite(s)" This 
person appears to be warning the dauphin against "11 ", two women in the corner 
of the design, who are weeping and selling their plate, "11 ", and jewels to a Jew. 
" 8 ", bemoans the want of soldiers, arms, murderers, slaughtered friends and foes, 
and refers to a chained sailor " 1 ", and a Waldensian preacher, " Waldenser 
Predikant" who are condemned to the galleys, and lie here chained to a great oar. 
Three persons, " 9 ", are violently pulling " 8 " back by the hair and scanty clothing, 
one of them is rending the latter with his hands and teeth. France seizes by the 
wrist Amsterdam, " l ", who wears a heart marked with a fleur-de-lis, and bears 
a mural crown in front of his wig, which he hangs down as if ashamed ; he holds 
up one of his fingers, and puts his other hand behind to receive money from " 6 ", a 
person carrying a large bag of Louis d'or and wearing a mouse-trap on his head. 
Behind these is Father Petre "3", holding a mask, and another person, "5", with a 
tric-trac, or child's noisy plaything and wearing a knife stuck in the band of his 
hat ; a fourth, "4", is playing on a fiddle. By means of these figures it is intended 
to express that corruption, deceit, and frivolous amusements were employed to 
cajole the Amsterdam man. Behind, are a man tearing his hair, and another, who 
is dragged forward by a third, "12 ", to look at a score chalked up against them on 
the wall. The wall is decorated with a carving of a ship without a rudder, 
inscribed " Sonder Roer" and through two arches are seen the Council-house, 
" Raedhuijs, 1690", of Amsterdam, and the Tuileries. 

Below the etcliing are three columns of Dutch verse, to the following effect, and in 
letterpress, being the "Franse Kael-ender," &c. as in the second title above given. 
l . Gruff John (Amsterdam?) began to be noisy in the fuddled club at the Artil- 
lery Yard, 2 and said, " Brother, our Society is in danger, let us have no more rows. 
The master is out and we can manage that our cock shall rule the walk. . . . We 
are sovereign and above all law. . . . Shake hands. We have the people on our 
side." 2. Three Kings (of Cards) were risked in our hand for the great Lord. 
. . . Most were revelling, drunk and threatening. . . . Their hope was that 
some one of the noble lords might be found who began to rave with them, but this 
hope failed. . . . How St. Nicholas' Louis (d'or) clinked ! 7. "Ha!" cried the 
mad French cock (on the helmet of " 2"), " in this I trace old friends; 3 who speaks 

1 See " Pantagruel Agonisant," June 30, 1 690, No. 1 245. 

8 This was a well-known club, see Sewel's " Dictionary" " Doelist." 

1 It i~ probable that this phrase alludes to the secret correspondence which 

existed between Amsterdam and France in the year 1684; hence also the " Ptaed- 

huijs" and Tuileries appear together in the background. 



,690] WILLIAM III. 5 

thus for freedom must be praised." He called, " See friends, who trust in me, he 
stands fast for ever, the rascal sat just now and . . and .... with 
seals and contracts : he had set his . . . just on the bodies of all his friends, 
who were sooner or later . . . ." 8. " Gaclzoons !" cried his wife (see above, " 8") 
weeping sadly ; she was moaning like a beggar, and without cap, petticoat, or purse, 
" Ash Wednesday everywhere ! who will cover my poverty ?" 1O. (This number 
refers to the prostrate figures of the sailor and the Waldensian preacher in front of 
the design.) Friends and foes are carried to the galleys. 1 1 . Quatertemper and 
Botrast, called the harlots of the Court, every one had to move, jewels, costly 
clothes, and other things were sacrificed to the soldiers. . . . The Tenebrae shall 
be read when Orange drives away the monsters with which the citizens are plagued. 
12." For what the sow fails in one cannot get from the pigs ;" this proverbial ex- 
pression refers to the man who is pointing to the score on the wall ; on his back is 
the figure " 1 2." 

Before the figure of, " 9", the persecutor of " 8", who is acting so violently, 
is the globe bursting into flames, and inscribed, " Duytsland ende aengrensende Ryk" 
(en) [Germany and neighbouring kingdoms]. Over the board on which the 
score is marked is " Quater en Trois. moet hier betalen" [Four and Three must 
pay here] ; the numbers in the tale indicate the state of the reckoning against " 4" 
and "3"; " i ", " 2", "5", and " 6" have " o" set down against them. 

151 X I3f in. 



1239. 

MEDAL ON THE EXPEDITION OF WILLIAM III. TO IRELAND, 
1690. (No. i.) 

[June 11, 1690] 

OBVERSE, bust of the king, with legend, " Gvlielmvs. III. D. G. Mag. Brit. Fran, 
et. Hib. Rix. Belg. Gub." 

Reverse, the sea shore and sea, the fleet destined for the Irish Expedition is 
in the distance, and, in the foreground, a unicorn, the emblem of England, with a 
crown round its neck, gallops at full speed without listening to the croaking of three 
frogs who are on the bank ; legend, " Non. Metam. Abiecta. Morantur." In the 
exergue is " Traiectus. in. Hiberniam MDCLXXXX." 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part III. 
Book V., page 444. 

Each circle, 2 in., diameter. Brit. Mus. Library, 157. k. 3. 



I24O. 

MEDAL ON THE EXPEDITION OF WILLIAM III. TO IRELAND, 
1690. (No. 2.) 

[June 11, 1690] 

OBVERSE, the same as the reverse of " Medal on the Expedition of William III. to 
Ireland," (No. l .) same date, No. 

Reverse, a woman, symbolical of the town of Amsterdam ; on her right is a 
lion, representing the province of Holland, who holds with his paws the baton of a 
stadtholder, and the armorial shield of England ; on her left is Cerberus ; with one 
hand she caresses the lion, and with the other points to Cerberus, who vomits towards 



6 WILLIAM III. [1690 

her fire and sulphur ; legend " Quantum. Discriminis. hie. est" In the exergue 
is, '* Amstla. Redux." 

S.-i- (J. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part III., 
Book V., page 444. 

Kadi circle. l in., diameter. Brit. Mus. Library, 157. k. 3. 



1241. 

REPORTED DEATH OF WILLIAM III. (No. i.) 

[June 30, 1690] 

A print representing the body of William HI., stretched upon a hurdle, and borne 
by " 2, Burnet", " 3, Shrcubury", " 4, Dikvvelt" and " 5, Portlant", who are pre- 
ceded by " 1 , Halifax " dressed like a French cure carrying a taper and bell. At 
a distance is a gallows erected upon a hill ; near to it is " p. George " holding out 
a bottle and glass. William, while reconnoitring the enemy during the afternoon 
previous to the battle of the Boyne (June 30, 1 690), was slightly wounded in the 
shoulder ; a report reached Paris that he had been killed, whereupon bonfires were 
lighted, guns fired, and joy otherwise manifested. " 7, La Princesse a" Orange", 
weeping and lamenting, follows the bier, her train is borne by a black boy ; 
" Holandois ", " Escossois", " Anglois" and " Irlandois", as personified by male 
figures, attend the " princess " or queen. 

This design was copied by Romeyn de Hooghe and adapted for the satire 
which he produced on Louis XIV, under the title of " Pantagruel Agonisant," 
see that title, June 30, 1 690, No. 1 245. 

The print is accompanied by the following lines, which are engraved on the 
plate : 

" Pleures heretiques pleures 
Et vous Potentats coniurez 

Qui vous flaties de mettre vn jour la France en poudre 

Le Tiran des Anglois GVILLAVME est au cercueil 

Le Ciel a confondu son crime et son Orgueil 

Louis la fait tomber sous sa puissante foudre 

Dikvelt et shrubury Bumet auec Portlant 
De ses laches fureurs ministres detestables 

portent son cadaure sanglant 
Ou les bees des Corbeaux attendent les coupables." 

Numerals are attached to each of the names of the figures in the design and, as 
follows, refer to the verses. 

" l. (Halifax.) 
A moy flambeau fatal d'vn Royauine sans foy 

La torche honorable est bien due 
lit rette triste cloche a ma gauche penduc 
Est celle du Tocsin sonne* centre mou Roy 

2. (Burnet.) 
Du Bm-U'sque Burnet j'admiray 1'Eloquence 

Quan<l (Juillcmot fut Couronne 
Mai.- <iiii-l j.laisir pour nmy quaud ce fou forsciic 
])rccbcra *ur la potence 



1 690] WILLIAM III. 7 

3. (Shrewsbury.) 
Ne trouue ton pas que mon sort 
Est plaisant et digne d'enuie 
La femme me soutient envie 
Et je porte le Mary mort, 

4. (Dykvveld.) 

Quel fatal contre coup, que ma douleur est grande, 
Guillaume est au tombeau, tout mon proiet est vain 

Je le voulois de la Holande 
faire en moins de deux ans paisible souuerain. 

5. (Portland.) 

Les plus grandes faueurs passent comme le vent 
Qu'auant toy n'ay ie etc priue de la lumiere, 
Ah ! tu prenois si bien auec moy le derriere 
De quoy t'auises tu de prendre le deuant 

6. (HoUanders.) 

Sur ce corps etendu qu'en grand deuil je conuoye 

Tu me vois rependre des pleurs 

Mais dan les publiques douleurs 
Les larmes sont souuent le voile de la joie. 

7. (The Princess of Orange.) 
Ton superbe Tarquin vomit son ame jmpure 
Tullie II faut calmer tes pleurs et ton Effroy 

Jacques est ton Pere il est ton Roy 
Ecoute encor ton sang et son secret murmure 

Malgre ton crime il est je croy 

De grands retours a la nature, 

8. (Englishman.) 
Qu'auec ines propres mains je vais me dechirer 

Dans la Rage qui me possede 
H seroit pour mes maux vn facile remede 
Ne puis je me resoudre a me le procurer, 

9. (Scottishman.) 

Guillemot comme vn chat nous a preste sa patte 
Mais sa mort est ma foy le moindre de nos maux 

Et si quelque douleur Eclate 
Ce n'est que dans le coeur de nos Episcopaux 

1 0. (Irishman.) 

Du Tiran des anglois la rage est confondue 
Nos champs ont veu tomber ce fameux Criminel 

C'est a 1'jrlande qu' estoit deu 
La gloire d'atterer 1'Ecolier de Cromwel." 

This print was published in Paris, and intended as an insult to the memory of 
William ; but, with the public rejoicings upon the fancied occasion, showed the 
importance of his life. 

Below the print is, in an old manuscript, the following : 

" Vers faits sur 1'entree de Myloi'd Portland Ambassadeur de Guillaume 3 e Roy 
de la Grande Bretagne a Paris le 9 e Mars 1698. 



8 WILLIAM III. [1690 

" Cette ambassadc si celebre, 
Et ce Spectacle si brillant, 
Vieut dit on de ce conquerant, 
Dont jay vu la pompe funebre. 

Quoy c'est Benting qui va paroitre, 
Luy que j'ay vu si tristement, 
Accompagner le monument, 
De Nassaw son illustre Maitre 

Cet home dont Iheureuse mort, 
Causa tant de chants d'aUegresse, 
Et pourquoy tout le peuple enpresse, 
Couroit cliantant son tristle Sort. 

Ce Tyran, cet vsurpateur, 
Que j'ay vu pendu dans la Halle, 
C'est lui qui dans ce jour etalle ; 
Tant d'eclat, et de grandeur. 

O Dieu quel prodige nouveau, 
Nous touchons a Iheure derniere ; 
Peuples mettez vous en priere, 
Les morts sortent de leurs tombeaux." 

There is an impression of this print, without the MS. See the same title and 
date (No. 2.), (No. 3.), and (No. 4.), Nos. 1242, 1243, and 1244. 
lOl x 8 in. 



1242. 

REPORTED DEATH OF WILLIAM III. (No. 2.) 

[June 30, 1690] 

THIS is a copy from the print described as (No. 1 .) under the same title and 
date, No. 1241. The manuscript verses occur on the margin of this copy, as in 
the original. The names of the persons represented are here, in all cases, engraved 
above their heads, it is not so in the original ; that of Burnet is written " brunet" ; 
that of Shrewsbury, " Sthreuburi" ; " le traitre Anglois" appears over the head of 
one of the queen's followers. On a hill in the distance is " Londre ", a walled city. 
In the lower corner, on our right, is Hell, with " Shombert", chained amid fire, and 
accompanied by devils, one of whom blows a horn ; Schomberg addresses " le Pr. 
a" Orange", who descends into Hell on the back of a dragon. The introductory verse 
of the original is engraved over the design. On our left of this is the following : 

" Billet cC Enterrement. 

" Vous estes priez cCassister au Convoy service et entcrrement, du tres Jiaut, tres 
grand, et tres Infame Prince infernal grand Stadouter, des Armees diabolique, de la 
ligne d'Augsbourg, et insigne vsurpateur des Royaumes cTAnglet. d'Ecosse et 
fl' Irlundc, decide dans d'Irlande au mois d'Aoust, 1 690. qui scfcra le 26 du dit mois, 
dan* la paroisse infern. ou aasistcront Dame Proserpine, Radamonte et les liqueurs. 
Les Dames lui (/front .si I Icur plaist des iniures" 

On the other si<le is this : 

"Epitaphe" 

" Cy gist Guillaumc de Nassau, 
Que mcritoit mieux Vechafaut, 



1690] WILLIAM III. 9 

Que (Tvn Canon la mortelle blessures 
Passant ne lui dit d'autre injures, 
Que celle que, Von doit a son sort, 
Le Dieable layt apres sa mort" 

Below the figures in the design is, on our left, " Sur Vair Je Suis Soldat des gardes 
du faubourg St. Mar. Sur Vair ;" and, at foot on the other side, " Sur Vair vous 
me lauez dit, le Marechal Schombert." 

Below the design are engraved these verses : 

" Le grand Prince d' Orange, 
he ; qu'est il deuenu, 
par quel dessein etrange, 
a til done disparu, 
son ame entreprenante, 
va elle auec Schombert, 
faires quelques deceiites, 
sur le bord des enfers. 

Ce tiran d'Angleterre, 
est reduit aux tombeau, 
ce broiiillon de la terre, 
en fin ne dit plus mot, 
vn grand coup dans lepaule, 
lors qu'il ne pensoit pas, 
a fait faire a ce drolle, 
vn tour au pais bas. 

Si jamais j'etois vivans, 
le ri'en ferois plus taut, 
je me rangerois du partis, 
du grand Louis, du g r Louis, 
le me rangerois du partis, 
et le voudrois servir. 

Francois rejouissons nous, 
et beuuons comme des trous, 
et prions Dieu a Ijnstant, 
pour notre Roy Louis le grand, 
et prions Dieu a Ijnstant, 
qu'il le fasse viure cent aiis. 

Le Prince D Orange est mort 
s'il ne lest par il a tort 
on lattendoit aux enfers 
auec Schomberd auec Schomb. 
on lattendoit aux enfers 
pour detroner lucifer." 

See (No. 1.), (No. 3.), and (No. 4.) with the same title and date. Nos. 1241, 
1 243, and 1 244. 
12i X 8' t. 



10 



WILLIAM III. [1690 



1243. 

REPORTED DEATH OF WILLIAM III. (No. 3). 

FOLIES EXTRAVAGANTES DE LA FRANCE SVR LA MORT IMA- 
GINAIRE DE GuiLLAUME III. ROY DE LA GRAN D'Bl<E- 

TAGNE, PRINCE D'ORENGE, &c. 

Copie sur Foriginal Grave d Paris. {.June 30, 1 690] 

A copy of the print which is described as (No. 1.) under the same title and date, 
No. 1 241, with "P. Gorge" placed above his head, instead of at his feet, as before. 
French verses, as follows, are upon two scrolls at the top of the print. 
On one scroll is : 

" Pleurez, Heretiques, pleurez, 
Et vous, Potentate conjurez, 

Qui vousflattez de mettre wijour la France en poudre 
Le Tyran des Anglois GUILLAUME est un cercueil ; 
Le Ciel a confondu son crime et son orgueil; 
LOUIS I 'a fait tomber sous sa puissante foudre ; 
DICKWELT et Shrewsbury, Burnet avec Portland, 
De ties laches fureurs Ministres detestables, 

Portent son Cadavre sanglant, 
Ou Ics bees des Corbeaux attendent les coupables." 

On the other scroll is: 

" Viritables Anglois, triomphez et riez, 

Et vous tons, Princes Alliez, 
Esperez de reduire unjour la France, en poudre, 
Le Heros est vivant quon mettoit au Cercueil ; 
Dieu veut par luy confondre et le crime et V orgueil, 
Et terrasser LO VIS par sa puissante foudre : 
II exterminera ses Flateurs insolens, 
Des fureurs du tyran Ministres detestables ; 
Les Bourreaux traineront leurs Cadavres sanglans, 
Ou les bees des Corbeaux attendent les Coupables" 

Below the print are letterpress descriptions of the rejoicings in question, the 
same text in Dutch and French ; of the latter the following is a copy : 

"A Paris la nuit du 27 au 28 du Mois de Juillet 1690 Ton commenc,a les 
rejoiiissances pour la mort imaginaire du Roy de la Grand' Bretagne, Prince d'Orenge, 
par la decharge du Canon de la Bastille a une heure indeue. Et environ le minuit, 
les Commissaires des Quartiers allerent fraper aux portes des Bourgeois, en criant 
de toutes leurs forces, Levez-vous, faites des Feux de Joye, le Prince d 1 Orenge Sf le 
Marechal de Schomberg sont morts. Jamais on ne vit plus de diligence. On 
u'entemlit que Trompettes, que Tambours, que Hautsbois & autres Instrumens. 
Grande Illumination par tout. Tables raises avant la pointe du jour par toutes les 
rnUs, oil le vin ne fut pas epargne. Les Religieux s'y distinguerent, par le grand 
nombre de Petards & de Fusees qu'ils tirerent dans leurs Jardins, & par les Fontaines 
<!< \ in qu'ils firent couler devant leurs Cloitres, pour faire boire a la sante du R. 
Jaqucs & du Pretendu Prince de Galles. Dans quantite d'endroits de la Ville, 
1'KlHgic du Prince d'Orenge fut brulee, pendue, trainee, & raise en toutes sortes 
de manieres infames. L'on y fait memes le Procez a 1'Auteur des deux Vers que 
voicy, de la meme maniere qu'ils fiirent affichez a la Place des Victoires, a la Place 
Royale, & au dcssous du Cheval de Bronze. 

o. R. B. 

SIL EST MORT, IL EST HEVREVX. 
S'lL EST VIVANT, IL EST GLO1UEVX 



1690] WILLIAM III. 11 

La joye a ete si grande k ZJ/OTZ au sujet de cette pretendue mort du P. d'Orenge, 
que le Commerce y a cesse trois jours durant, & que les Boutiques y out ete fermees 
duraiit le meme intervalle de temps, pour avoir lieu de faire de pareilles Folies & 
de pareilles Extravagances qu'a Paris. 

A Dicpe ils ont pousse la chose avec vigueur. Us y ont fait par autorite de 
Justice, dependre 1'Enseigne du Prince d'Orenge, qui pendoit depuis plus d'un 
siecle a un Cabaret de la Ville, pour y mettre a sa place 1'Enseigne du pretendu 
Prince de Galles ; Et ils ont porte en ceremonie cette vieille Enseigne du Prince 
d'Orenge, en prison, Tambour battant, & avec un concours de monde prodigieux. 

Les Comperes Poucelets de Rheims ont fait des merveilles. II n'y avoit pas 
un creneau, ou il n'y eut un Hallebardier. 

A Bayeux Ville Episcopale de la Basse-Normandie, ils ont ete jusqu'a la Rage. 
Ils ont pendu, brule, traine, ecartele, & jette a la voirie la Figure du Prince 
d'Orenge. 

A Sedan, a Mouzon, k Ddnchery, & & Maizieres, Ils on fort bien fait leurs 
devoirs au gout de la Cour de France, & particulierement les Femmes qui s'y sont 
abandonnees a la debauche, pour d'autant mieux celebrer cette belle Fete. 

Et generalement toutes les Yilles du Royaume se sont empressees a faire des 
Feux sur ce sujet, & ont fait de leur mieux en cette rencontre a 1'envy 1'une de 
1'autre." 

See (No l.), (No. 2.), and (No. 4.) with the same title and date, Nos. 1241, 
1242, and 1244. 

12| X giin. 

1244. 

REPORTED DEATH OF WILLIAM III. (No. 4). 

DE BELACHCHELYKE SoTHEEDEN IN VRANKRYK, WEGENS DE 
GEWAANDE DoOD VAN KONING WlLLIAM DE DERDE. 

[The ridiculous Follies in France, in consequence of the 
supposed death of King William III.] 

Copie sur Vorginal Grave a Paris. [June 30, 1690] 

THIS is a copy from the print described as (No. i.) with the same title and 
date, No. 1241. The numbers are not given with the names of the personages, 
nor are the verses engraved in the sky ; the name " Shrewsbury " is spelt 
correctly. 

On a rock at a distance is a gibbet, as in the original, near which stands 
" P. Gorge", with a bottle and a glass, rejoicing at the death of William, which 
placed his wife one step nearer to the throne of England. 

Below, is a letterpress description of the rejoicings at Paris and in France, in 
Dutch and French, as in (No. 3.), with the same title and date, No. 1 243 ; and 
a copy of the two verses which appear on the top of the same print. 

See (No. 1.), (No. 2.), and (No. 3.), with the same title and date, Nos. 1241, 
1242, and 1243. 

13x9! in. 

1245. 

" PANTAGRUEL AGONISANT." 

Gumdeau inv. J. Marlaisf. a Londres. [Romeyn de Hooghe]. 

[June 30, 1 690] 

THIS etching represents the interior of a bedchamber where " Pantagruel", " 2", 
(Louis XIV.) is dying on the bed ; he wears a full-bottomed wig, cravat, and night- 



12 WILLIAM III. fi6 9 o 

dress, with n large jewel, shaped like a heart, lying on his breast; on this jewel is 
satirically eiu. r nwd sin orb of sovereignty, to express the king's lust for dominion; 
it is surmounted by a crescent, thus referring to the king's alliance with the 
Turks, which was alleged to be a scandal to Christendom, see "A Satirical 
Medal," &c. No. 1 1 84. Many persons are gathered about the bed, including some 
of the king's mistresses, ministers, marshals, soldiers, and family. A picture is repre- 
sented as lying on the floor in front of the design. The subject of this picture is 
described by the inscription " Ltt mart imaginaire du Roy Guillaume grave a Paris 
1690," which is engraved above it, and thus indicates that "Pantagruel Agonisant" 
was the rejoinder of King William's party to the print which is described as 
" Reported Death of William III." (No. 1.) June 30, 1690, No. 1241. 

To each figure in the design a number is attached, referring to the text, which, 
in Dutch and French, is given, in letterpress, below. 

No " l", the Devil, bears up the shoulders of Louis, and whispers to him ; see 
post; "2", is "Pantagreul," the French King ; "3", "Le Roy Courier" of the French 
text, refers to James II. of England, who sits and adjusts his spectacles, as if after 
wiping his eyes, at the bed-head ; a star, with a trail from its centre, probably in- 
tended to suggest that it is a falling star, is on James's breast, a courier's bugle 
hangs by a strap across his shoulder. 1 No. "4", " 't Jesuite Prinsje" of the Dutch 
text, stands at the knees of James and holds the so often repeated toy windmill 
(see " Qualis vir Talis Oratio." No. 1 1 74), leading-strings are fixed to his 
shoulders, he wears a little Jesuit's cap. Nos. " 5", " 6", and " 7", three corpu- 
lent and highly-dressed ladies, kneel, the last weeping, the others talking, at the 
side of the bed which is next to us. These are three of the king's mistresses, 
" Fontange," whose coiffure resembles that which still bears her name, " Scarron, 
Maintenon," and " Montespan." " 8 " is on the other side of the bed, and dressed 
as a nun ; this figure represents the Duchess "Lavaliere; " she turns and appeals to 
" 1 1 ", " 't Gemy terd Swyn," of the Dutch text, who extends his hand and, looking 
up, seems to address Louis ; he is very fat and gross in aspect. 2 " 9", " Louvois," 
leans at the foot of the bed and gathers in his arms several objects which look like 
bags of coin, he turns and, in an agitated manner, looks backwards over his 
shoulder ; " l o", " Colbert Croissi," stands and looks as if startled at the approach 
of William III., " 24", who, mounted on a charger, and holding a drawn sword, is 
seen through an open doorway, galloping towards us over a field of battle ; "21" 
and " 22'!, " Tyrconel," and " Sarsfield," kneel before the victorious William. " 1 2", 
"Melac," with a bundle of faggots flaming in his hands, " 13", "Bouflers," holding 
a lighted grenade as if about to throw it, and " 14", " Luxembourg," flourishing an 
axe, suggest the destructive character of Louis XIV.'s wars ; the figures appear 
as if prepared to resist the entrance of William III. to the room. "15", " Bonrepos 
avec lea partisans," appear by means of two heads of persons who look on, and 
stand behind No. 11. " 16", " 17", and " 18", three half-length figures, appear 
behind the bed as in a picture, at the foot of which is "Genealogie de Louis XI III." 
above it " Minor uno Pluribus impar" The first of these figures represents a 
fierce-looking personage, who wears a Jesuit's cap, and has an eight-pointed star 
sii-prnded at his breast; the second is a working man, he holds a small object 
like a loaf, see the text, in his hand, and turns towards the last, who, having his 
hands bound together at the wrists, and a rope tied about his neck, stands as if about 
to be hanged ; a gallows, with a man hanging from it, is represented as if embroidered 
on the breast of his dress (see the text below) ; "19" and " 2O", wooden-legged 
men leaning on crutches, are about to depart from the room ; " 2 1 " is Tyrconnel, 

1 This refers to the wandering and unsettled life of the abdicated monarch. 
James was frequently represented with a bugle thus slung across his shoulders. 

2 See "The Mitred Hog, a Dialogue," in " Letters from the Dead to the Living," 
by Thomas Brown, (commonly called "Tom Brown,") "Works," 1719, (l 22 71, a.), 
vol. ii. p. l 2O. 



1690] WILLIAM III. 13 

who, with " 22", kneels before the advancing William, and thus express the sub- 
mission of James's Irish adherents ; " 23", is " Lausan " shut in an entrenchment 
or fort ; " 24", is " Le Roy Guillaume resuscite," has been described before ; " 25", 
the Dauphin, stands behind the head of the bed and plays a violin ; near him are 
"26", Conde, with a rote, and " 27", " Le Prince de Conti," with a fife; these 
constitute "Les Grands Orphelins de France " : these words are engraved above 
their heads, on the mouldings of a doorway through which we see a building, in 
front of which stand the gallows and the rack, which are stated to be "Sans Employ", 
these are placed upon a scaffold, inscribed " La Greve" ; behind is "MontFaucon", 
with a gibbet. " 28", Father Petre, sits in front of the design, with a closed book 
by his side and telling his beads. On the walls of the room are views of cities 
inscribed " Orange", " Gcnua", " Straetsborg\ and "Algie"(r$.}. Fire is bursting 
from the casing of one of the doors, from above which the Papal tiara and a sword 
composed of coins are falling to the ground. 1 Scrolls, inscribed " Prise de 
Turin", " Mort du Due d Savoie", "Algiers", and "Prise de Charlers" (?) 
lie on the floor of the room, and refer to the misfortunes which attended the French 
arms at this period. 

The following is the French text : 

" Pantagruel Agonisant. 

1 . Le Diable. 
Mon pauvre Lieutenant, 
Tu es bien foible maintenant, 
Mon fils quel mal te pique, 
Voila ton hemetique. 

2. Le Roy pantagruel. 
Ah s'en est fait, il vit, il vit ou son esprit, 
a Plus d'un corps, il les remplit, 
Tantost mort, tantost en cainpagne. 
Par cy, par la, par tout, Orange, 
L'espee, le Canon, 1'assassin, 
Ne peuvent rien ? Helas enfin 
Le fondement m'echappe, 
Au louvre il nous attrappe. 

3. Le Roy Courier, 
Ah ! il s'entend trop bien au jeu, 
Ny mer, ny roc, ny fer, ny feu, 
Arrestent son gain des couronnes, 
Ayous done soin de nos personnes. 

4. Lejeune Meunier de Walles. 
Mama, dit, si Ton prend la suite 
Que je sois petit jesuite, 
Pour ne pas dementir la race, 
Voy mon bonnet, a bonne grace, 



5. Fo 
Vielles garces, Sont de mil prix, 

6. Scarro?i, Maintenon. 
Je croyois bien regner icy. 

7. Monte span. 

Moy, vefve a deux Maris Vivans, 
Qu' importe, j'ai passe mesans. 



1 See "Mardi gras de Cocq a I'tne," Dec. 28, 1689, No. 1238. 



1 4 WILLIAM III. [1690 

8. Lavaliere. 

Soyons Nouvelles, Madelaines, 
Virilles abbesses, jeunes putaines. 

g. Louvois. 

Au voleur, au Voleur ! Ton dernier argent 
Court risque, s'il nous pousse avant. 

1O. Colbert Croissi. 
Je fay des troupes, et des tallies. 
Le sang vaut feu de nos canailles, 
Mais s'il nous presse, il faut aller, 
a 1'autre monde le braver, 
Un petit conte, centre toy Sire ? 

1 1 . Le gros Chochon Mitre. 
Messieurs, Vostre peur me fait rire 
Les feux de joye, pour sa mort, 
Sont faits, y peut on avoir tort 
De par le Roy ; <ja, qu'on s'acquite, 
Des feux, avant, qu'il resuscite. 

12. Melac. 



i z. ivieiac. 
Sauve qui peut, il vit et vient, 
Ah ! nostre pauvre Roy en tient, 
Nos feux, et flaux en AUemagne, 
Seront un jour punis d' Orange. 

13. Bouflers. 

Fuyons, fuyons, Messieurs, il faut, 
Aliens brusler les cieux en haut, 
La terre est toute desolee, 
Par les braves de nostre armee. 



14. Luxembourg. 

Qu'il viene, oui da ! qu'il viene a moy, 
Je suis un diable sans effroy, 
Bossu, tortu, bougre, estourdy. 
Mais peste il vient, fuyons d'icy. 

1 5' Bonrepos avec les partisans 
Grand Roy, des partisans ne creve, 
Car on nous pendroit a la Greve 
Que tout ton peuple meurs de faim, 
Vive, grand fils de Mazarin. 

16. 

Ton pere saint, ce bon Apostre, 
Estoit le Maistre, et chef des nostres. 



Ton grand pere bon boulanger, 
De bonne race pour voler, 

18. 

Ton ajeul mort a la potence, 
Vives, vives, tiran de France. 



1690] WILLIAM III. 15 

19. Postilion d Allemagne. 
Un postilion, pent bien faillir. 
N'est il par mort ? il pent mourir, 
Sa resurrection, est trop cruelle, 
Pour gaster la joye de ma nouvelle. 

2O. Exprex (f Italic. 

Tout Boiteux, tout Crotte, je vous porte sa mort, 
Un coup de Canon, est disablement fort, 
Pour ma nouvelle, vaille que vaille, 
J'ay croque, une bonne medaille. 

2 1 . Tyrconel. 

Qu artier, Quartier, Roy triomphant, 
Cest n'estre mort, mais trop vivant. 

22. Sarsfield. 

Ha, Sire, nous voulons nous rendre, 
Les armes bas, sans nous defender. 

23. Lausun. 

Sans honneur, sans armee, sans argent 
Ou diantre sauver tous nos gens. 

24. Le Roy Guillaume resuscite, 
Prepares vous, Tiran de France, 
Vous apprendrez la mesme dance. 

25. Le Dauphin en Deuil. 
Jamais Regner, d'un pere eternel, 
Toujours pupil, c'est trop cruel. 

26. Prince de Conde. 
Je tourne comme feu mon Pere, 
Meurs Tyran, c'est nostre affaire, 
Le sang des Rois, est aux abois, 
Pour la canaille de Louvois. 

27. Le Prince de Conti. 
Vives Guillaume et nous delivre, 
Nous sommes bien prests a vous suivre, 
Vives, Vives, heureux vos ans, 
Et sauves nous de nos Tyrans. 

28. Pere Peters. 
J'ay joue la beste, 
Mes affaires sont faictes, 
Pauvres Jacobites, la trahison, 
Plot, ny complot sont de saison ! 
Centre un Roy, a 1'epreuve du Canon ! 
Au lieu de, te Deum laudamus, 
Helas, ite missa est, Ploramus. 

FIN." 

There is an impression of this etching having the title in Dutch, " Pantagruel 
zieltogende," printed with the letterpress. 
131 X 10$ in. 



,6 WILLIAM III. [1690 



1246. 
D ONVERWAGTE TlJDING UYT YERLANDT, AEN DEN KONINCK 

VAN VRANCKRIJCK. 

[The unexpected News from Ireland, to the King of 
France,] 

The effect of the Battle of the Boyne on Louis XIV. 

p Bo sc l [July 11,1 690] 

THIS Dutch broadside consists of an etching with two columns of letterpress in 
that language. The former displays the bedroom of Louis XIV., " l ", who 
lies in the bed and is attended by "4", the Turkish doctor, and " 6", the Irish 
doctor ; the latter feels the king's pulse. Over his majesty's heart his coat ia 
embroidered with a heart surmounted by a crescent. "4", is dressed 
after the Turkish fashion, his robe is embroidered with suns, Louis's badge, 
crescents and stars, for the Turks. He examines a urinal. On the robe of " 5" 
are fleurs-de-lis. Behind the bed-head stands " 2 ", holding, see below, 
a large clyster-pipe. " 3 ", the Devil, is next the last-named person. " 5 " 
stands behind " 6 " and holds up a bottle through the body of which he is 
looking. There is a second " 3 " on the opposite side of the bed to the other. 

" 7 ", is Father Petre, with a doctor's robe over his travelling clothes and 
riding boots, he wears a Jesuit's cap and a large ruif, and holds a letter. 
" 8 ", a very old man, approaches the foot of the bed. " 9", the Papal doctor, 
has a lancet in his hand. For " lo", see below ; " 1 1 ", a man with a wooden 
leg, wearing a Turkish turban, and apparently much injured in war, hobbles 
to the door of the room and is about to enter. " 12" refers to an army march- 
ing past, outside the room. 

For references to the alleged Turkish proclivities of Louis XIV. see "A 
satirical Medal referring to the Allies of Louis XIV." No. 1 1 84 ; " Les Mo- 
narches Tombants", No. 1215 ; "The Great Council of Rome", No. 1219. 

The Dutch letterpress is to the following effect : 

" The Unexpected News from Ireland, to the King of France. 

1. The King of France, lying in his bed because of the distress, caused 
by the unwished-for news of the battle of King James, his brother, in which so 
many French have perished, is to be clystered. 

2. One from the Sultan, clothed like a doctor, is to clyster him. 

3. The Devil in a physician's garment is also ready to help, and therefore 
he calls an other subterranean Doctor, who looks quite amazed. 

4. A Turkish doctor, of whom Louis is very fond, asking the Devil whether he 
would order something for his friend, because he did not like to be taken away 
so soon from the earth. 

5. The Portuguese doctor has also prepared something to save him. 

6. The Irish doctor feels his pulse, and looks at his urine, in order to see 
whether there is not something wrong with him. 

7. Father Petre in doctor's clothes has the letter in his hand, by the con- 
tents of which the king is affected anew. 

8. The eldest doctor of the King's Court. 

9. Papal doctor. 

10. Papal doctor receiving the last letter, and concluding from it that 
King William is dead, 2 for the mitigation of King Louis's sadness. 

1 Sec the publication-line of, " Arlequin Furieux," &c. No. 1217. 

2 See " Reported Death of William III." (No. l.), June 30, 1690, No. 1241. 



1690] WILLIAM III. 17 

1 1 . Alas ! here James comes at last, and the messenger, because he brings 
bad news, is maimed and goes on crutches. 

1 2. His army follows soon after James, going home totally maimed, hopping 
on one leg, and sadly equipped. 

13. The two devils appear at length, to help each other to convey Louis to 
another bed." 

12 x 7 ' 

1247. 

MEDAL ON THE BATTLE OF THE BOYNE, 1690. 

Ian. Luder: fecit. I. Ludcr Fecit. [July 1 1, 1690] 

OBVERSE, bust of William HL; legend, " Gvilielmvs. III. D. G. Mag. Brit. Fran. 
Et. Hib. Rex." 

Reverse, the king, on horseback, leading his troops against James II. and 
Lauzun ; the Duke of Schomberg and the Rev. George Walker are lying dead on 
the ground; legend, " Apparuit et Dissipavit." In the exergue is, " Liber ata 
Hibernia MDCLXXXX." James, over whose head is "Jacob", flies in an attitude 
which expresses the greatest alarm. The names " Lausan", "Schomberg", and 
" Walker", are placed close to the figures. 

See G. Van Loon's "Histoire Metallique des Pays-Baa/' 1732, Part IV., 
Book I., page 5- 

Each circle, 2^- in., diameter. Brit. Mus. Library, 157. k. 4. 

1248. 

A TRIUMPHAL MEDAL FOR THE BATTLE OF THE BOYNE, 
1690. 

[July 11, 1690] 

OBVERSE, bust of William III. ; legend, " Gvilielmvs III. D. G. Mag. Brit. 
Franc, et. Hib. Rex." 

Reverse, Joshua before his enemies and at the head of his troops, commanding 
the sun to stand still ; the ark borne behind him : legend " Ut et. Joshua cursum. 
Solis retinet!" 1 In the exergue is " 1 689." 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book I., page 9. 

Each circle l|- in., diameter. Brit. Mus. Library, 157. k. 4. 

1249. 

MEDAL ON KING JAMES'S FLIGHT FROM IRELAND. 

\July 12, 1690] 

OBVERSE, head of James H., wearing a bag- wig ; legend " lacobus II. Britan. Rex 
Fugitiv." 

Reverse, a stag with wings upon its fore feet, running at full speed to the left ; 
legend " Pedibus Timor Addidit Alas". In the exergue is " Fugit ex Hibernia 
D 12 lulii 1690." In the background, the mouth of a river, with castles and 
mountains, also a ship leaving the sea shore. 

See G. Van Loon's "Histoire Metallique des PaysBas," 1732, Part IV., 
Book I., page 10. 

Each circle, if in., diameter. Brit. Mus. Library, 107. k. 3. 

II. C 



,8 WILLIAM III. [1690 

1250. 

" HOLLAND HOLLENDE KOE 1690" 

[Holland's Galloping Cow 1690.] 

A Satire on William Bentinck, Earl of Portland. 

Bousche inv : P Bouttats fecit, 1 690 [ 1 690] 

[By Romeyn de Hooghe.] 

Gedruckt op de bedrukte Drukkery, en de verdrukte Vryheyt" 

[Printed at the oppressed Press, in the oppressed Liberty.] 

THIS is a Dutch broadside, consisting of a large etching, and three columns of 
verse in letterpress below it. The former represents " 1 ", the so-called 
" Vice-Stadholder", that is William Bentinck, Earl of Portland, Plenipotentiary 
for William III. in Holland, wearing an earl's coronet, the pearls of which have 
given place to hawk's bells, such as appear on fools' caps ; he is mounted on the 
back of " 2 ", the Cow, and galloping into a hall, overthrowing many persons 
in his course; he holds a banner in his right hand, on which is " Wy Syn Graaf 

en Souvere van de Lan de" (We are Count and Sovereign of 

the Country.) Attached to the Cow's yoke is a large pannier marked " Pour 
Les Amis ", and containing civic rods and axes, wreaths and slips of paper ; 

on the last is written " Commis " (Commissions), " Beneficie " (Benefices), 

" Charges " (Trusts), and " officie " (Offices). With his left hand the rider 
is distributing to " 7 ", persons who eagerly follow him, slips of papers like 

those in the pannier, and marked " Baljuw schop " and " Heemraat " ] 

He likewise throws a sword, a baton of command, and a coin, or medal. 

Over the arched doorway of the place from which the Cow is galloping is 
written " T" 1 Slaapt Hier Al" (Every thing sleeps here.) ; on the keystone of 
the arch is an escutcheon bearing the arms of the Hague, a stork vulning herself, 
with her young at her feet, all proper. The Cow gallops into a chamber or cor- 
ridor opening into a courtyard, over the arched doorway of which is represented 
an eagle, displayed, bearing a very fat pig in its talons. On the walls of the 
corridor or chamber are two pictures, one of these shows " 14", the bringing 
of the Wooden Horse towards the walls of Troy, and " 15" the Stadholder 
standing on a pedestal, stooping and presenting his exposed posteriors to the 
examination and salutes of his adorers, some of whom are prostrate before him, 
while others stand in diverse attitudes of admiration behind him ; one approaches 
his face to the exposed part in order to salute it ; the motto above the picture 
is " Niet te haastig elk Syn beurt" (Not too quick, every one in his turn.) 

Below the belly of the Cow are " 5 ", the English and " Muffs " (Germans), 
represented by three gentlemen, one of whom is milking coin from the udder, 
" 4 ", of the beast into a pail, while the others crouch beside him, and seem 
to be waiting their turns to do the like. The Cow is blindfolded (near the 
bandage is " 3",) and, in the act of rushing onwards, overthrows many men 
" *3 "> wn wear wooden yokes about their necks and have asses' ears. These 
are prostrate on the earth, two of the number wear civic gowns, one wears a 
skullcap and spectacles ; on the ground at their feet lie pictures, shields, or 
tabards ; on one of these is what looks like a picture of the signs of the Zodiac, 
on another stars are painted. Running from before the charging cow is " 9 ", 
" Dol Os" (Mad ox,) with horns, blindfolded, holding a stick in one hand 
and a paper in the other ; his name is on the bandage over his eyes, he is 
crying " Religie " (Religion) and a fire-breathing snake issues from his mouth, 
on his girdle is " Souvereinit(eti) " (Sovereignty) ; on the embroidery of his vest 
is "Oproer Twist Vals Uitstroie " (Uproar, Disputes, False Reports). A pouch 

1 These are names of offices. 



1690] WILLIAM III. 19 

hangs at his side, marked " Pasquil en Bluwe " [Pasquils and Blue Books, 

'. e. satirical tracts.] 

Mercury, i.e. Commerce, with " 1O ", Peace, having her palm, and "8", 
Plenty, with a cornucopia, her hair bound with wheat, fly before the rushing cow. 
"11 ", the " Gentlemen of the Exchequer ", one of whom carries the rods 
and axe, another two bulky volumes, the Laws and the Bible, marked "Privi- 
legien" (Privileges), and " godsdien(siy\ appear to be eagerly approaching to 
welcome the rider on the mad Cow. 

On our right of the design is a pedestal on which " 12 ", a dog, sits erect 
on his hind quarters, in the attitude of " begging ", as instructed, by a gen- 
tleman with asses' ears who stands before the dog. On the pedestal is " Sit 

op voor de dan Krygje " (Sit up, for the 1 - ). " Wat " (What ?), and 

" Al om de Sobere Kost" (It is all for sober fare). Chained to the pedestal is 
the Dutch lion " 6", growling and dissatisfied while a man is cutting his claws 
with a pair of scissors. 

In front of the design are two female figures seated at a tomb which is 
inscribed " Hie Jacet Edictum Perpetuu(m) MDCLXXII Vi Et Fraude 
Ne(g)at Resurgat Cum Pace". The females represent Liberty and Com- 
merce, the former has a broken anchor at her side, the stock of which she 
holds in her hand, the point of one of the flukes is broken off and lies on 
the ground ; Liberty's lance is likewise on the floor ; she weeps and leans her 
elbow on torn charters which lie on the tomb. Commerce wears a naval crown, 
and holds a caduceus the snakes of which are sickening or dead. At her feet lies 
a book, ledger, with ruffled and torn leaves ; a mouse approaches to gnaw them. 
Near these is a globe, for the World. The tomb is surmounted by the Hat of 
Liberty, and bears two portraits of men, doubtless those of the brothers De Witt. 
For the " De Witts" see " A True Picture of the Famous Skreen" &c. (No. 1.), 
March 11, 1721. 

For an account of the events which provoked this satire see Wagenaar's 
" History of Holland," XVI. 60 97. The Earl of Portland was accused of 
having violated the privileges of many Dutch towns, especially those of 
Amsterdam. 

Below the design are three columns of Dutch verse, to the following effect, 
and illustrative of the satire. The numbers refer to those which appear on the 
plate, as cited above. 

" l. Come, come, get away with your old rags, we have here other pri- 
vileges and favours, the old are putrified or eaten by the moths. New sove- 
reigns give new laws. Would you, you cheese ! you peasants ! prescribe the law 
to us ; you ! donkeys and traders ! void of reason ! We '11 soon find you out 
and punish you, here are his bans and laws, which will soon make an end 
to all your discontents. Who shall hinder that I appoint myself Vice- 

Stadholder here ? Away with your commissions We are Count and 

master of the Countries." Thus cried the angry Count, so that it echoed over 
the whole region, and in a wink he 

2. Spurs on the Dutch Cow, which was sitting still and silent. 

3. The quickest party had bound a small piece of cloth before its eyes, so 
that it was led about by them as they desired. 

4. They made many dozens of laws and taxes, (by which two hundredths of 
the peoples' property fell to the State) &c. 

5. The English and Muffs (Germans) paid due attention to this, and while 
the one was watching us in the field, the other made us lose sixty tuns (a tun 
is 1OO,OOO florins; nearly 9,OOOZ.) 

6. They shorten the Lion's claws with all kinds of tricks, which we, poor 
dotards, had least expected, and they bind the animal strongly to chains. 

1 Probably a blasphemous expression. 



20 WILLIAM III. [1690 

Now Holland is in difficulties. During all these troubles, the Count came with 
a very dexterous trick, and shut courteously the mouths of those, who did not 
think like himself, nor listened to his gifts, for which 

7. A party of threadbare young nobles, place-hunters, like greedy slaves, 
gripped with open mouths and claws. One of them got a commission ; the other 
posts, a third a commander's staff. In this manner they knew how to get many 
votes from these disturbed heads, they influenced every one to do 

8. What the Grand-Signior desired, (t. e. that Commerce, Peace and Plenty 
should depart from the country.) 

9. Mad Ox crying nothing but Religion, Papists and Arminians, Persecution, 
Tyranny, Fires, Thefts and Fears of the Poor ; and whatever of the same 
kind there may be ; he knows how to enlarge it, and acts like a beast, 

10. So that Peace and Plenty flee with Mercury. How may that be 
prevented ? 

1 1 . Said the Gentlemen of the Exchequer, for whose sake was all this trouble, 
and for the prevention of which they used all kinds of means, to shut peoples' 
eyes. But Argus was in the Council, and so there was no chance of concealing 
the tricks. The end was, that every one took care of his own, and nobody of 
the Commonwealth ; so that by and by we shall ruin ourselves. 

12. Whoever will sit up best, gets the biggest piece, and whoever speaks of 
Liberty shall go to prison. 

13. Now these bad people lie down with donkeys' ears, and they are 
despised by all those whose ancestors and relatives lost their lives in the eighty- 
years' war. So educate all your children for soldiers and cavaliers, in order 
to break such stupid resolutions, and if in future we have again an eighty 
years' fight, to live free from the English (worse than the Spanish) yoke ; when 
we must eat again Mice. Rats and Carrion, because their ancestors with much 
noise 

14. Fetched the Troy-Horse to our country. Now the alarum-bell is heard 
on all sides. Trade and Prosperity are to be sought far off, and suspicion 
is in all corners. They (the noble persons and their cousins) sit and prey on 
the labour, sweat and blood of citizens and peasants. Therefore, if you will 
become wise and rich, sit up, and 

16. Kiss the Vice-Stadholder's . . . (certain part of the body.), for then you 
will get posts as well as the other flatterers ; every man tries to get money. 
Try to throw suspicion on the opposition, so that the Vice-Stadholder's oppo- 
nents come within reach of his claws as the De Witts before, or have them 
condemned to death by means of an unfounded accusation. Those who respect 
Holland's honour and defend her liberty will try to break Tyranny and Slavery. 
Therefore drive ye that tailed Vice-Stadholder away, because he spoils all." 

I5 X I4w. 



1251. 

A TRIUMPHAL MEDAL OF WILLIAM III. 1690. 

[1690] 

OBVERSE, bust of William III. laureated ; legend, " Wilhelm III. D. G. Ang. 
Sco Franc, et. Hib. Rex." 

Reverse, the ark taken by the Philistines, irradiated ; the idol, Dagon, cast 
down on the ground and broken in pieces : legend, " Hostes inter tamen Area 
triumphal :" on the exergue, " Reformations Salva, M. Brit. R." 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book I., p. 7. 

Each circle, 2 in., diameter. Brit. Mus. Library, 157. k. 4. 



1690] WILLIAM III. 21 

1252. 

MEDAL ON THE WAR IN IRELAND, 1690. 

Ian. Ruder : Fecit. [1690] 

OBVERSE, laureated bust of William III. ; legend " Gvilielmvs. III. D. G. Mag. 
Brit. Fran. Et. Hib. Rex" 

Reverse, the king, as Hercules slaying the hydra of Lerna ; legend, *' Foecun- 
dam. Vetuit Reparari. Mortibus. Hydrant." 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book L, page 14. 

Each circle, 2\ in., diameter. Brit. Mus. Library, 157. k. 4. 

1253- 

A TRIUMPHAL MEDAL FOR THE TAKING OF DUBLIN, 1690. 

[1690] 

OBVERSE, a laureated bust of William III., looking to our right, the shoulders 
clad in " classic" armour ; legend, " Gvilielmvs III. D. G. Mag. Brit. Fran. et. 
Hib Rex." 

Reverse, William III. in a Roman costume, standing by an altar, on which 
is a sacrifice, and about to place a cap of Liberty on the head of a female, who, 
representing Ireland, kneels before him ; the yoke of servitude lies on the ground 
behind her, she has been delivered from its bondage. In the background 
James II., accompanied by a French soldier, is taking flight ; his sceptre and a 
broken anchor lying on the earth, signify the naval and military defeats he had 
Buffered ; legend, " Focos. servavit, et. Aras" ; in the exergue is " Expuls Gall et 
Reb Dublin Triumphens intravit" 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book I., page 1 1 . 

Each circle 2- en., diameter. Brit. Mus. Library, 157. k. 4. 



1254. 

THE IRISH MONSTER. 

ElGENTLICHE ABBILDUNG DES IN IRELAND VON FER- 
MANAGH, GEFANGEN, ETC. 

E. Back a H. exc. A. V. [1690] 

AN engraving representing a monster composed of the head, neck, and forepart of 
the body of a camel supported upon two human legs, the nails of the toes being 
long and sharp claws. It is bridled and led by a man who wears a kilt, a short coat, 
a " Scotch " bonnet with feathers, stockings and shoes ; his knees are bare. In 
the background another such animal is exhibited to a surrounding crowd. A third 
has thrown a man upon the ground and is devouring him ; a fourth has overtaken 
a horseman and seized his head with its teeth. Bones of a horse lie in front. 

Beneath, engraved on a separate plate, is an inscription in German, to the 
following effect : " True representation of the man-eater, caught in Ireland near 
Fermanagh, and brought to Dublin. A similar monster was brought before his 



22 WILLIAM III. [1690 

majesty King William of Great Britain in 1 690 ; the one, however, here represented, 
is said to surpass the former in size. This is the only other monster seen within 
the memory of man. The upper part of its body may be compared to that of a 
camel or dromedary, while the lower part resembles that of a man ; above, it has 
long hair and sharp teeth ; it is very swift and is twenty-one feet high. Whence 
this huge monster was derived or came is unknown ; before it was caught, which 
was done with great peril of life, it did dreadful damage in the desolate parts of 
Ireland, when all which fell in its way, of men and animals, were miserably killed 
and devoured. This monster has been in some respect tamed, and is conducted 
from one town to another, and has been seen in Ireland for money by many thousands 
of persons ; the same will be brought to England and Holland, and then proceed to 
Germany. [The animal exhibited was probably an alpaca.] 

This print may probably refer to the alleged savage habits and monstrous 
appearance of the Irish at this period. 

ilJ-X 7J- in. 



1255- 

" THE PROTESTANT GRIND-STONE." 

[1690] 

A print representing "King" William in. and "Queen" Mary pressing the Pope, 
who kneels, and forcing his nose against a grindstone, which is turned by Bancroft, 
Archbishop of Canterbury, and Compton, Bishop of London. On one side are a 
monk, a friar, the Devil wearing a Jesuit's cap, a Jesuit, and a Cardinal ; these are 
all lamenting and amazed : on the other side, " Schombcrg", Halifax, and Burnet 
are composedly looking on. 

For similar designs see " The Scots holding their Young Kinges nose to ye 
Grindstone," No. 8l2; and "The Dutch Grindstone," Jan. 1712? 

These verses refer to this subject : 

" Old Holy Father, there was once a time 
When Clemency was thought a mortall Crime 
For Hereticks no pitty you could find : 
But, most Severely did their Faces Grind. 

The time's now turn'd, harsh Stripes upon you fall, 
Too well deserv'd, and this is done that all 
Who see the W e of Babylon may Say. 
Shoe's 



1256. 
"THE NEW STATE OF ENGLAND." 

/. Sturt, Sculp, in ye Old Change. r 

THE engraved frontispiece to a book, representing " Britannia " seated, holdincr 
her spear in one hand, and with the other supporting on her lap an open volume 5 
on which is The New State of England." In the distance appear ships in foil sail ' 
on one side stands King William III. crowned, royally robed, and carry in-r flu- 
sword of war, encircled by a label with the motto " le maintiendrai." On the other 



1690] WILLIAM III. 23 

side stands Queen Mary, crowned, holding the sceptre of Peace. Above are the 
royal arms within the Garter, crowned, and placed between a monogram of " W " 
and"M,"and"RR." 

The publisher of this work was Guy Miage. 

See the same title, No. 1268, 1691, and No. 1297, 1696. 
3i X 5i in- 



1257' 

ROYAL CAVALCADE. 

A Satire on the Royal Regiment, disbanded, 1690. 

Vol. V.,p. 70. [1690] 

THIS print faces p. 7 1, vol. v. of " The Works of Mr. Thomas Brown (commonly 
called Tom Brown)," comprising his "Remains," in one volume. London, 1720. 
It represents the cornet of the regiment in question, to the trappings of whose 
horse squibs have been tied, and now explode, to the dismay of those who look on : 
another rider is thrown off his horse ; the scene is a street in London many 
persons look from the windows of the houses ; one of the balconies is draped 
with an embroidered cloth. The subject is described in the following verses from 
the ballad which is entitled, " The Cavalcade, and disbanding the Royal Regiment ; 
a Bollard for Jo. Haynes, 1 690." * 

" The Cornet whose Nose tho' it bespoke him no Roman, 
Was mounted that Day on a Horse that feared no Man ; 
Believe me, for all o'er his Trappings so sumptuous, 
He ty'd Squibs and Crackers, 'twas mighty presumptuous. 

But note his Design, 'twas with your admiring, 

'Twas to let the Queen see how his Horse would stand firing ; 

Not wisely considering what 'twas to be married, 

For at firing the Squibs his own Mistress miscarried." 

2 i * 4i '" Brit. Mus. Library, 122 71, a. 



1258. 

THE HIGH GERMAN DOCTOR, AND THE ENGLISH FOOL. 

London, Printed for S. Lyne at the Globe in Newgate Street and by the 
Printsellers of London 8f Westminster. [c. 1 690] 

AN engraved broadside, with a design at the top representing the " High German 
Doctor" riding in a two-wheeled carriage, which is drawn by a pair of horses ; on 
the back of one of the horses sits a postillion dressed like a Tartar, as represented 
in old prints, with a bow and quiver at his back, and armed with a whip and sword. 
The " English Fool " stands on a large stool, and is clad like a Merry-Andrew ; he 
holds a scroll in one hand, and, in the other, a phial ; at his feet is a large pill-box. 
The speech of the Fool is given at length and is in praise of his master, the 
Doctor's powers, which had been exercised in curing Cardinals of pride, laziness, 

1 For " Jo. Haynes," see " Letters from the Dead to the Living," c. 1 700, No. 
1 393', "Joe Haynes's Mountebanks Speech," c. 1700, No. 1402; "Joe Haines 
Epilogue," c. 1 700, No. 1408. 



WILLIAM III. 



[1690 



and hypocrisy, ministers of state of " bribery and infidelity," Kings of" a Tyrannical 
Feaver," &c. On each side of the broadside is a ribbon, bearing fruit, herbs, 
pill-boxes, compasses, scrolls, books, bottles, &c. At foot are a pestle and mortar 
and a bottle and glass. 
8 X 1 2f in. 



1259- 

PORTRAIT OF ADRIAN BEVERLAND. (No. i). 

O D Vois Lugd pinxit Is Beckett Londin. excudit [c. 1690] 

A mezzotint engraving. Beverland is on our right, seated by a table, on the 
other side of which his mistress sits, who appears to be reading to him, she holds 
up her left hand, as if playfully admonishing him ; he wears a large peruke and 
dressing-gown, and holds a tobacco-pipe in his right hand. On the table before 
him is a glass of wine on a tray. Behind the figures is a curtain, and, beyond that, 
are rows of large books on shelves. 

Adrian Beverland, commentator, was born at Middleburgh, Zealand, 1653, 
took the degree of Doctor in Civil Law, and became an Advocate, but devoted him- 
self to literary pursuits. His works were, "DePeccato original!," 1678 ; a second 
edition of this book appeared in 1679 (1019. k. 14/1); " De Stolatae Virginitatis 
Jure," &c., 1680 (1019. k. 14/2.); "De Fornicatione Cavenda Admonitio," 1697, 
(edit. 1698, 1079. c. 18. edit. 1697, 700. b. 2/4.); "A Hue and Cry after the 
Bulls ofBashan, P.D. F.'s (Perino del Vago's) Epistola ad H. B." (H. Beverland), 
(1080. i. 25/7.); " Seignior Perin del Vago's Letter to Mr. Hadrian Beverland, 
1702 (1080. i. 15/2.); " Hadriani Beverlandi Patrimonii suei Reliquiae," (1080. 
i. 25/8.), and similar publications (1080. i. 25/9. 1080. i. 25/10. 1080. i. 15/4.) 
All these are in the British Museum Library, likewise a translation into French of 
" Peccatum originale," styled "Etat de 1'Homme," 1714 (850. c. 21.) He wrote 
also " Problema Paradoxum," 1678, "De Prostibulis Veteruin." For the pub- 
lication of " Peccatum originale," he is said to have been imprisoned as a licentious 
author by the magistrates of Leyden ; he removed to Utrecht, which place he was 
also compelled to leave : upon this he came to England and obtained a pension. 
He died insane about 1 7 1 2, or 1 7 13. "A Hue and Cry," &c., " Had. Beverlandi 
Patrimonii," &c., and those which are above referred to after the latter, appear to 
have been the works of a lunatic. He collected pictures and books ; the latter three 
tracts profess to contain catalogues of his possessions of this sort, with curious bio- 
graphical notes and allusions to contemporaries. In his later years he lived at 
Fulham. Besides the above see " Lc Chevalier MontenacKs Letter to Mr. H. B. 
J. U. Q. L." (1080. i. 25/5.) " Perini del Vago," &c. (1080. i. 25/2.) " A Dis- 
covery Of the Three Impostors," &c. (1080. i. 15/3.) " Seignior Perin. del Vago's 
Letter," (1080. i. 15/5.) " D. Ivnii Ivvenalis," &c. (l 1,375- a -)> an interleaved 
copy, with MS. Notes, by Beverland. " H. Beverlandi Elegantioris Sophiae Magistri 
Kpistolae XII." 1 747 (13 II. H. a. 2.) ; among others thus addressed are I. Vossius 
and F. Spanheim. Several works by Beverland were in Dr. Mead's library, of 
these some may be in that of the British Museum, (see the catalogue of the sale of 
the former library (270. i. 28, p. 5.) There is a reference to his "Peccatum 
origin ale," in J. Albert Fabricius' " Opusculorum," &c. (88. d. 12.), under the 
heading " W. F. Schutze," p. 84. See also p. 1 25 of that work. 

Bcverland's books were sold to Charles, third Earl of Sunderland, and are pro- 
bably now included in the library at Blenheim. 

In the " AmoenitatcsLiterariae," of J. G. Schelhorn, l 727, torn. vii. (1088. i. 1 1), 
pp. 168 171, is the following, referring to and characterizing this author : 

" Hac cominentatione ad finem jam perducta & typographo tradita, peropportunc 



1690] WILLIAM III. 25 

adhuc recordatus sum HADRIANI BEVERLANDI, purissimas impuritatis scriptoris, 1 
inter eos, qui sua ipsi opera ad Vulcanum ablegaverunt, minime praetereundi. 
Suamis eruditionem inquinavit obsccenis de stolatae virginitatisjure acpeccato originis 
libris, quos non abs re iis annumeraveris, qui, judice Jeremia Drexelis, 2 nuspiam tutiore 
sunt loco, quam cum in flamma sunt. Career, mulctae irrogatio, variae adversitates, 
& salubres aliorum admonitiones liominem tandem ad saniorem redegere mentem, 
eoque perduxerunt, ut non solum, quae lascivius scripserat, smnmopere detestatus 
in cineres verteret, sed publice etiam palinodiam caneret, in lucem emissa de forni- 
catione cavenda admonitione sive adhortatione ad pudicitiam & castitatem, cum hac 
praafatione : Inimicis pacem. Cum libellum meum de P. O. post sexdecim annoa 
forte mihi monstraret ac prcelegeret Germanus, vix exprimere potui, quifuerim con- 
sternatus, quod scripturiens talibus tempestatibus olim jactatus essem. Damno 
calorem improvida illius cetatis. Detestator adulterinum stylum 8f nequiorem 
sensum. Gralias Deo, quod tandem velamen, quo misere coecutiebam, ab oculis meis 
amoverit, nee siverit me diutius huic pertinacice patrocinia qucerere absurdiora. Idem 
ille cordium scrutator Deus adeo mihi fuit propitius, eamque mihi mentem dedit, ut 
omnia, qua de hoc argumento scripseram, combusserim, fy libros de P. V. (Prosti- 
bulis veterum) ad Rectorem M. Academics Lugduno-Batavce transmisserim. Rogo 
omnes, qui clam, vi, vel precario aliquid a me possident MS. ut istud mihi remittant, 
ut Sf ipse quoque tradam Vulcano. Quod si quis negligat, till omnes imprecor 
calamitatcs, quce maligno &f perfido solent contingere. Hoc vestra intereat non 
ignorare. 

Prasmissa est libello epistola ad Eduardum Bernardum A. MDCXC. Kal. Febr. 
data, e qua, linjus potissimum monitu ilium resipuisse, apparet. In ejus vero calce 
haec leguntur : Hadrianus Beverlandus supplcx orabat in arce Vindesoriensi A. 
1693. Recusus est in Germania A. MDCXC VIII. cmn Joannis Brandii, Gratiani 
Torrisii, Soc. Jes. Detestatione nefaudissimi sceleris Ononitici gravissima. Rein 
primo serio egisse existimabatur Beverlandus, sed parum abest, quin ad vomitum 
tandem rediisse videatur. Anno enim 1699, in Belgium opera quaedam misisse 
dicitur, digna aliis habita, quae combinerentur. Ita namque de iis Jacobus Ber- 
nardus : 3 M. Beverland fameux par des Ouvrages bien differ ens a envoy e en 
Hullande, pour etre imprimez, ses Otia Oxoniensia : Notce in Martialem, Juvenalcm, 
Sfc. Iter sum Anglicum. Ceux qui se plaisent dans la litterature trouveront leur 
compte dans ces Ouvrages : si ceux qui les ont requs ne les ont par brulez, comme 
quelques personnes me Vont assure. 

Anno MDCCXII. Londino, in calamitoso eum versari statu, nunciabatur, mente 
videlicet captum obviis quibusque prolixe narrare, vitae suaa insidias poni, ac 
ducentos homines conjurationem contra ipsum iniisse." 4 

9! X 12$ in. 



1 " Ita Petronii fragmenta purissimae impuritatis dicuntur justo Lipsio in 
Commentar. ad Taciti Annal. Lib. xvi. p. 437, de quo judicio vid. Menagian. Tom. 
ii. p. 299." 

2 " In Niceta, sive triumphata incontinentia L. I. G. Y. 3, p. 36." 

"Vid. ejus Nouvelles de la Republique des Lettres. A. 1699, M. Octobr. 
p. 468." 

4 "Vid. Neuer Biicher-Saal,vo\. ii. p. 141, de hoc viro conferri etiam meretur 
Henr. Lud. Benthem in Hollandischen Kirch-und Schulen- Staat. Part. n. Cap. 
iv. p. 451 sq. & Tenzel. in Monatlichen Unterrednngen. A. 1698, p. 845, sqq." 



26 WILLIAM III. [1690 

1260. 

PORTRAIT OF ADRIAN BEVERLAND. (No. 2.) 

Schcnckfe. et ex. Cum Privilego. [c. 1690] 

THIS mezzotint engraving is a copy, reversed, from that which is described as 
(No. 1 .), with this same title and date, No. 1 259. It represents Adrian Beverland, 
below the knees, on our left, seated at a table with his mistress ; he wears a full- 
bottomed wig, lace cravat, slippers and dressing-gown ; he rests his back against 
the rail of the chair in which he is seated, and has an instrument, somewhat 
resembling a syringe, in his right hand, and probably intended to be used in 
tasting wine, his left hand holds a small cup. On the table a wine-glass stands 
on a salver. The mistress, a young woman, sits opposite to Beverland and at 
the table ; her hair is elaborately curled, but her dress is loose, leaving the whole 
of her bosom exposed. From a book which lies on the table she appears to be 
reading to Beverland, raising her right hand, as if playfully to admonish him. A 
large and heavy curtain hangs behind the group. This impression of the plate was 
taken before the inscription " Peccatum originale" was engraved on it. 



I26l. 

PORTRAIT OF HADRIAN BEVERLAND. (No. 3.) 

[c. 1690] 

THIS mezzotint engraving represents Beverland, for an account of whom see the 
same title and date (No. 1.), No. 1259. In this design he appears at full length, 
seated with a tablet or book on his knee, his back is turned towards us, he is 
looking over his right shoulder so that his face is nearly in full view. A cloak 
is wrapped about him. The background of the design is occupied by pyramids, 
obelisks and a full-length statue of a naked woman, of which a back view is 
given,' in the act of removing, or putting on a garment. This appears with 
satirical reference to the studies of Beverland, as described before. 

This impression was taken from the plate before the inscriptions, as cited by 
the Rev. J. Granger, "A Biographical History of England", 1824, v. 294, 
were added, thus " Viro perilustri Hadriano Beverlando, numismatum, insec- 
tarum, cochlearum, picturarum rariorum, vindici, statori. Hanc tab. a Sim. du 
Bois delin, L. M. Q. C." 

See the print described with the same title and date (No. 2.), No. 1260. 
9i X I54r*- 

1262. 

THE HERETICAL SYNOD AT SALTERS-HALL. 

[c. 1690] 

AN engraving representing the interior of the meeting house adjoining the Hah 1 
of the Salters Company of London, Salters Hall Court, Walbrook. It resembles 
a church of the seventeenth and eighteenth centuries, with a pulpit, sounding- 
board, and reading-desk ; a gallery on either hand is supported by three columns. 
In the pulpit is a man preaching without a book ; in the reading-desk is another, 
with an open book before him. Many persons are in the galleries and looking 
over into the nave of the building, the pews of which are occupied by men 
wearing cloaks and hats. Several of these persons are in attitudes as if speaking 



1690] WILLIAM III. 27 

aloud, and engaged in disorderly discussions. Facing us, in a pew which is 
just below the pulpit, are " The Four Moderators." Next, and facing the 
last, with their backs towards ourselves, are four persons, referring to whom is 
written, " We are for no Impositions" (i.e. impositions of hands). One of the 
persons in the gallery thus addresses those below : " All you that are for the Trinity 
Come up We have Subscribed." In front of the design are two full-length figures of 
men, standing. The person on our right addresses the other and holds a paper, on 
which is written, " For, or agnt the Trinity, beloved" The other, a Janus-headed 
figure, with two faces under one hat, and wearing a long cravat and bands, half a 
cloak and half a coat, holds in one hand a paper, inscribed " As my Principles ", and 
in the other hand a second paper, inscribed " For my Interest" 

Above the print is " The Heretical Synod at Salters-Hall, p. 59," to which 
" 3" has been prefixed in MS. Below the print are the following lines : 

" The Self Same Things They will abhor, 

One way, and long another for : 

As if Religion was intended 

For nothing else but to be mended." 

In the reign of William III. the meeting house adjoining, and originally part 
of, Salters Hall, London, was occupied, in part, by a congregation of Presbyterians ; 
there is a view of the interior in " Londina Illustrata," vol. ii. 

This is a book print ; it is in the " Crowle," Pennant's " Some Account of London," 
Part I., No. 205. 

In Thomas Brown's ("Tom Brown's") "Letters from the Dead to the Living," 
("Works," 1720, (12271. a.) vol. ii. p. 12), one of the characters, says the 
Lord Mayor of London " has no other Priviledge above his Brethren, as I know 
of, but that of taking a comfortable nap in his Gold Chain at Pauls or Suiter's Hall; 
to either of which Places his Conscience, that is, his Interest, carries him." In 
the same author's " A Comical View of London and Westminster " " Works," 1719, 
(12271. a.) p. 170, we are told of " Great thumping and dusting of the cushion at 
Salterns Hall about eleven ; one would almost think the Man was in earnest, he 
lays so furiously about him." Date, Sunday, May 3. 

For satires on the Presbyterians, see " The Presbyterian Conventicle," c. 
1700. 

See " The Schismatical attack," &c. 1 709. 
41 X 6| in. 



1263. 

A MONK CONFESSING A WOMAN. 

[c. 1690.] 

A small anonymous mezzotint engraving of two half-length figures, representing a 
young lady in the costume of the last decade of the seventeenth century, comprising 
a hood, or wimple, lined with white, her hair clustered in ringlets on her temples and 
a round patch on her forehead ; she appears to be kneeling before a young monk and 
confessing to him an amorous peccadillo. His face, with an extremely sensual 
expression, is turned in three-quarter view to our left and towards the spectator ; 
his hood lies back on his shoulders. 

See, for similar subjects, other entries with the same title, c. 1 700 ; same title, 
c. 17 50 ; and " Converte Angliam," No. 1146. 

3|- X 4| in. 



28 WILLIAM III. [1690 

1264. 

FRONTISPIECE TO " MEMOIRS OF THE LIFE OF MRS. MAN- 
LEY (Author of the Atalantis.) Containing not only the 
History of Her Adventures, but likewise an Account of the 
most considerable Amours in the Court of King Charles the 
lid." " To which is added, A Compleat Key. The 
Third Edition. London : Printed for E. Curll, at the 
Dial and Bible against St. Dunstan's Church in Fleetstreete 
1717. 

P. La Vergue, del M. V dr . Gucht Scul [c. 1690] 

THIS print represents the garden-front and terrace of Old Somerset House, 
Strand, London, with the Thames before it. Two gentlemen are standing 
against the parapet and conversing, while one of them appears to be feeding 
a swan. 

The same print was used again as the frontispiece to " The Adventures of 
Bivella" (Mrs. Manley) 17 14, attributed to Lieuteuant-General Tidcomb. (635, 
f. ll/i.) 

One of the gentlemen is supposed to be relating to the other the history of 
the life of Mrs. Manley, which constitutes the text. The text comprises a con- 
siderable number of scandalous anecdotes which are alleged to refer to persons 
of the period in question, including Steele, the Duchess of Cleveland, the Duke 
of Marlborough, Goodman the Player, the Duchess of Norfolk, the Duke of 
Albemarle, General Monk, &c. 

34 X 5|- in. Brit. Mus. Library, 635, f. 11/2. 



1265. 

MEDAL ON THE BATTLE OF AGHRIM, 1691. (No. i.) 

22, 1691] 



OBVERSE, the laureated bust of William III., legend, " Wilhem. III. D. G. Aug. 
Sco. Franc, et Hib. Rex" 

Reverse ; alien, who overthrows a wolf and puts to flight a cock ; the symbols of 
the party of James II. and of France ; legend, " Sic Uno Ferit Ungue Duos." In 
the exergue is " lacobo et Lvdovico Hibernia Pvlsis Ad Agrim, 1691." 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book I., page 50. 

See " Medal on the Battle of Aghrim" (No. 2.), July 22, 1691, No. 1266. 
Each circle, 2 MI., diameter. Brit. Mus. Library, 157. k. 4. 



1266. 

MEDAL ON THE BATTLE OF AGHRIM, 1691. (No. 2.) 

[July 22, 1691] 

OBVERSE, laureated bust of William III. ; legend, " Guielm. III. D. G. M. Brit. 
Fra. et Hib. Hex. F. D. P. A" 



1691] WILLIAM: in. 29 

Reverse, a lion overthrowing a wolf, and putting to flight a cock, the symbols 
of the party of James II. and of France ; legend, " Sic Uno Ferit Ungue Duos." 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book I., page 52. 

See " Medal on the Battle of Aghrim " (No. l .), Jnly 22, 1 69 1 , No. 1 265. 
Each circle, l in. t diameter. Brit. Mus. Library, 157. k. 4. 



1267. 

" THE USURPERS HABIT." 

Sold by L Savage at f Golden head in y e Old Baily. [Oct. 3, 169 1] 

AN engraved portrait of Louis XIV. of France seated in a chair at a table ; his 
garments are covered with representations of battles, towns, and fortresses. Embroi- 
dered on the table-cloth are " 25", devils dancing, fires, &c. On the table lies the hat 
of the king, which has a model of the town of Limerick, " l O," upon it ; this hat is 
placed as if Louis had just laid it down. In reference to this, a man with a lantern, 
who is looking at the king, says, "He begins to unrigg". Limerick surrendered to 
William III.'s forces, October 3, 1691. By way of cravat, or ''carmagnole,"' Louis 
wears " 1 ," Strasbourg, at his throat ; Ypres, " 1 6," is falling from his right arm. 

Beneath are twelve lines of English verse, and the names of twenty-four places 
which were wrongfully in possession of the French about the date of the publication 
of this print. The verses are as follows : 

" How proudly Lewis sitts upon his Throne 
Embroiderd o're with Towns were not his own 
As 2Esops lay did from the featherd Race 
Snatch Plumes to look with more Majestick grace 
But all the Birds affronted at the Theif 
Of 's borrowed feathers did him soon bereave 
So that proud Monarch must his fate Deplore 
And all his Thefts and conquests soon restore 
Mons, Strasbourg, Nice & Other Towns Hee Stole 
Will follow Athlone, Limerick, Carmagnole 
This mighty Work for William is Design'd 
The Scourge of France, and Darling of Mankind " 

The names of places are " l. Strasbourg, 2. Carmagnole, 3. Atlhone. 4. 
Charlemont, 5 Suze, 6 Cambruy, 7 Slego, 8 Landau, 9 Bouillon, 1O, Lemerick, 
1 1 Treues, 1 2 Luxembourg, 1 3 Maubeuge, 1 4 Nice, 1 5 Fribourg, 1 6 Ipre, 1 7 
Dinant, 18 Galloway, 19 Orange, 2O Mons, 21 Ville Franche, 22 Phillisbourg, 
23 Valenlienne, 24 Philippville, 25 The Counsel". 

7 X 1O in. 



1268. 

" THE NEW STATE OF ENGLAND." 

I. Sturt Sculp in ye Old Change. [1691] 

THIS engraved frontispiece was published in 1691 ; see the same title, 1690, No- 
1256, and 1696, No. 1297. In this instance the royal arms are accompanied by 
the supporters of England and Scotland ; the monogram, as before, and " R. R " 
are placed at the sides of the crown. 
3 X 54:- 



30 WILLIAM III. [1692 

1269. 

" LE CRIEUR DE VERSAILLE." 

" DE OMROEPER VAN VERSAILLES." (No. i.) 

[May 19, 1692] 

AN engraving representing the Crier of Versailles, or Louis XIV. standing, 
singing with his right hand a bell, and shouting " De Par le Roy" By the left 
ride of his head is the following, and the same in Dutch on the opposite side, 
" Ceux qui pourront faire rentrer dans les Ports de France quelques unsdes Vaisseux 
denommes dans la liste cy-dessous, auront 1 OOOOO fran de recompense pour chaque 
Vaisscau" In his left hand is a long strip of paper, on which is inscribed a list 
of ships' names: " le Soleil Royal, I 1 Admirable, T Orgeuilloux, le Prince, le 
Fort, le Conquerant, le Magnifique, le St. Philippe, le Triomphant, le Terrible, 
le Tonnant, le Fier, le Serieux, le Sansparcil, le Trident, le Safi, le Hardy, le 
Leger, la Luna, la Droit, la Venus, le Sage, le Diamant" A dog barks violently at 
the herald. This list of ships lost to the French does not quite agree with that 
which is inscribed in " Desolaten Inventaris van de Franse Wracken," same date, 
No. 1279. 

In the background is a representation of a naval battle (that of La Hogue) 
between Dutch and French ships ; among the latter is one on the stern of which is 
Louis XIV.'s emblem, " Le Soleil Royal." She is sinking, also many of her con- 
sorts. 

This design refers to the defeat of the French fleet, May 19, 1692, by the 
English and Dutch fleets, under Admirals Russell and Van Almont. Below the 
print are the following lines : 

" Par ce lugubre son I' assemble tout le Monde, 
Pour pleurer de Louis le pitoyable fort. 
Puis que ses beaux vaissaux nont pu serendre au port, 
Ayant subi la Loy de Russel et d'Almonde. 

II pensoit Retablir lacques dessus son Trone. 
Partager, auec luy 1'Empire des deux Mers. 
Mais helas aujourd'huy par ta Triste Reuers. 
Louis voit tout d'un coup Esbranler sa couronne." 

There is a later state of this plate, in which the Crieur holds a trumpet instead 
of a bell, and the verses commence 

" Au son de ma Trompet " 



1270. 

" LE CRIEUR DE VERSAILLE." 

" DE OMROEPER VAN VERSAILLES." (No. 2.) 

J. Dankerts Excudit. {May 19, 1692] 

AN engraving representing a courtier ringing a bell, and holding a list of the ships 
lost by France in the battle of La Hogue. This is a copy from the work described 
as (No. l.) with the same title and date, No. 1269. 

Beneath are the lines, as before, with a version of the same in Dutch. 
7| X lOf tn. 



,69*] WILLIAM III. 31 



1271. 

LE CRIEUR DE VERSATLLE. (No. 3.) 



[May 19, 1692] 



THIS engraving, which has no title, is a German copy from the Dutch print 
described as (No. l.) with the same title and date, No. 1269. 

It represents the figure of the crier only, without any background, and without 
the barking dog, which is present in (Nos. l . and 2.) of the prints with this title. The 
face has a more lugubrious expression than those of either of the Dutch prints. On 
the label which is held in the right hand of the figure is " Lista der Schiffie" and 
lines engraved for the names of the vessels lost by the French at the battle of La 
Hogiie, but no names are given. 

On the back of the print is a portion of a text in German verse and prose, 
referring to the event recorded. 

6x8 in. 



1272. 

" FRANCE OMROEPER." 
" CRIEUR FRANCOIS." 

[May 19, 1692] 

AN engraving of a courtier in the character of a Crier, on his head a broken hat 
and feathers, spectacles on his nose ; in his left hand he carries a bell, in his right 
a long scroll from which he reads a list of the ships lost at the battle of La Hogue, 
his cloak is covered with fleurs-de-lis, his left knee rests upon a wooden leg and 
he is supported by a crutch. Two dogs are howling at his feet. In the background 
appears the destruction of the French fleet at La Hogue. 

Beneath are the same verses which appear under " Le Crieur de Versailles," 
(No. 1.), same date, No. 1269, and eight Dutch verses on the same subject. The 
lists of ships agree. 

7| X 9i in. 

1273. 

DE SON IN'T HEMELSTEEKEN VAN DEN EEVENAAR. 

LE SOLEIL AU SIGNE DE LA BALANCE. 

[May 19, 1692] 

A Dutch broadside, referring to the battle of La Hogue and the position of 
the French king, with an engraving which may be described as follows : A large 
balance is suspended from a globe ; in the weightier scale are two ships, near which 
stand, with drawn swords, Admirals Russell, " 4," and Van Almont, " 5," and 
General Heusler, " 6," having on the point of his sword a plan of the fortress of 
" Waradin" Behind them are several officers. In the lighter scale is a plan of 
" Namen" (Namur) ; the Queen of James H. is putting the young Pretender into 
it as a make-weight, and the Devil is endeavouring in vain to pull down the scale. 
Near, stand Louis XIV., " 2," Mad. de Maintenon, " 3," M. de Luxembourg, " l," 
officers, soldiers, &c. Through a window are seen a fleet and a setting sun ; the 
sun was a badge of the French king. 

Below, are three columns of verse in Dutch and French, of which latter the 
following is a copy. The numerals refer to the figures in the design. 






32 WILLIAM III. [1692 

" 1 . Mr. de Luxembourg a Louis XIV. 
Sire, voila Namur mis sous votre Puissance ; 

Faites peser a la Balance 
La perte de la Flotte, & le gain de Namur ; 
Le poids de ce dernier sera plus fort. 

2. Louis XIV. 

Ha! Certes 

Monsieur de Luxenbourg, ce compliment est dur ; 
Dix Namurs ne sauroient recompenser mes pertes ; 
Dissimulons pourtant, ne nous plaignons de rien : 

Mais entre nous, vous savez bien, 
Que pour me relever d'une semblable chute, 
Je cours risque de voir tout mon Peuple en emeute ; 
Plus de trente ans entiers ont etc consumez 

Pour mettre a bout ce grand ouvrage, 
Et pour le retablir il m'en faut davantage ; 
Ma Finance est a sec, mes Sujets abimez ; 

La Veuve, & 1'Orfelin dont j'ai succe les veines, 

Les Pauvres dont moi seul ai mange le labeur, 

Ne peuvent plus fournir de sang, ni de sueur; 

Mes Parlemens sont gueux ; Ma Noblesse a cent peines 

Pour m'amasser quelques Ducats ; 

tTai taxe les moindres Etats, 
Notaires, & Sergens, Procureurs, Avocats, 
Cordonniers, Perruquiers, & gens de toute espece ; 
J'ai pille les Autels, j'ai sacage la Messe, 
Tout Saint d'or, ou d' argent, par mon ordre est brise, 
Enfin j'ai tant tire que tout est epuise 
O Malheur accablant ! O Fortune traitresse ! 

Que n'ai je ete plus avise ? 

Pourquoi ne pas laisser me Vaisseux dans leurs Rades ? 
Pourquoi les exposer a ce sanglant Combat ? 
Helas ! je n'en puis plus ; ce pesant Coup m'abbat, 
Mon Esprit & mon Corps en sont tous deux malades, 
Et j'en serai bientdt dans un lit tout & plat. 

3. Madame de Maintenon. 
Sire, Consolez vous, 1' Infante d'Angleterre 
Pourra, jointe a Namur, faire le contrepoids ; 

Et la Balance cette fois 
S'abbaissant pour vous seul, touchera a jusqu'a terre. 

Louis XIV. 

Madame, quelle illusion ! 
Une Chimere pure & sans nulle existance, 
Une Enfant qu'ont produit des Estres de raison, 

Fera done pancher la Balance ? 

Toute la force de Bizance 

Ne le peut, jointe a ma Puissance ; 
Le Diable meme y sue, & son bras quo que fort, 
Fait en tirant la Corde un inutile effort ; 
C'en est fait, delogeons ; cet objet me chagrine, 

Je n'y puis attacher mes yeux, 

Sans y decouvrir ma ruine ; 



1692] WILLIAM III. 33 

Aliens chercher en d'autres Lieux 
Qui seront plus delicieux, 
De quoi pouvoir charmer ma douleur intestine. 

4. L'Amiral Russel. 

Voyez-vous ce faux Conquerant, 

Dont 1'infernale Politique 

Faussant par tout la Foi publique 

Jure qu'il en est le Garant ? 
Son Visage confus, melancolique, & pale, 

Marque le trouble de son Cceur, 
Pour 1'echec qu'a receu son Armee Navale, 

O le grand, & fameux Vainqueur ! 
Qui separa toujours la Victoire, & 1'Honneur. 

5. L'Amiral Allemonde. 

Mais a quoi bon cette Balance 

Pour peser sa perte, & son gain ? 

Naniur ne pese pas un grain 
Au prix de ses Vaisseaux ; Voyez la difference, 
Quatre de ses Vaisseaux I'importent sur Namur. 

6. Le General Heisler. 
Ce Coup 1'accable, j'en suis sur ; 

J'ai le Grand Waradin au bout de mon Epee, 
Que j'apportois icy pour augmenter le poids ; 
Mais il ne sert de rien ; la Balance panchee 

N'a pas besoin de ces surcroies ; 

La chose est nette, & decidee, 

Sans pouvoir etre contestee. 

Louis XIV. 
Qu* entens je ? C'est Heisler, Allemonde, & Russel ; 

Un tremblement universel 

Me saisit ; Sauvons-nous promptement a Versailles ; 
Emmenons nos Tendrons, avec nos Antiquailles ; 
Vivons la desormais sans soin, & sans travail ; 
Je suis un Mars, dans mon Serrail, 
Mais ailleurs je crains les Battailes." 
i IT X 71 . 



1274. 

MEDAL ON THE BATTLE OF LA HOGUE, 1692. (No. i.) 

[May 19, 1692] 

OBVERSE, laureated head of William III.; legend, " Gulielm. III. D. G. 
M. Brit. Fr. et Hib. Eex F. D. P. A." 

Reverse, the French fleet on fire, and Louis XIV., " Ludov XIV." throwing 
away his trident and taking flight. In the foreground is a marine chariot, in which 
are the Admirals Russell and Van Almont, " JRuss et Almon" one armed with a 
sword, and the other with a broom fastened to a trident ; legend, " Divumq. Sibi 
Poscebat Honorem." In the exergue is " Pseudo-Nept[\mo]. Ocean[o], _Ea;p[ulso] 
Pugn(sC). ad Barfl[_Q\n]. MDCXCIL" 

II. D 



34 WILLIAM III. [1692 

See G. Van Loon's " Histoirc Metallique dcs Pays-Bas," 1732, Part IV., 
Book II., page 104. 

See the engravings (Nos. 2. 3. and 4.) which are described with same title and 
date, Nos. 1275, 1276 and 1277. 

Each circle, l|- in., diameter. Brit. Mus. Library, 157. k. 4. 

\ 

1275- 

MEDAL ON THE BATTLE OF LA HOGUE, 1692. (No. 2.) 

{May 19, 1692] 

OBVERSE, the same as the reverse of the medal, as described under the same 
title and date, No. 1274. 

Reverse, the French Admiral's ship the " Soleil Royal" in flames ; on the poop 
is the motto " Nee Pluribus Impar;" legend, " Nvnc Plvribvs Impart In the 
exergue is " .BrzY[annico]. .Z?af[avaque]. Virtvte MDCXCIL" The ship's name 
refers to the badge of Louis XIV. ; the motto was frequently used by that 
monarch. 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book II., page 104. 

See the engravings (Nos. 1. 3. and 4.) which are described with the same title 
and date, Nos. 1274, 1276 and 1277. 

Each circle, l-| t'n., diameter. Brit. Mus. Library, 157. k. 4. 



1276. 

MEDAL ON THE BATTLE OF LA HOGUE, 1692. (No. 3.) 

\_May 19, 1692] 

OBVERSE, head of Louis XIV., with legend, " Lvdovicvs Magnvs. Rex" 

Reverse, Louis in the middle of the sea, riding upon the back of a snail, 
which is issuing from its shell, and holding a trident in his right hand ; legend, 
41 Ex. Tulerat. Cornua. Sed. Periit. Salo" In the exergue is the date " MDCXCIL" 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book II., page 1 06. 

See the engravings (Nos. 1. 2. and 4.) which are described with the same 
title and date, Nos. 1274, 12 75 and 1277. 

Each circle, if in., diameter. Brit. Mus. Library, 157. k. 4. 



1277. 

MEDAL ON THE BATTLE OF LA HOGUE, 1692. (No. 4.) 

{May 19, 169: 

OBVERSE, laureated head of William III., with legend, " Gulielm. Ill D 
M. Brit. Fr. et Hib. Rex. F. D. P. A." 

Reverse, a sun at mid-day, and below it Admiral Russell's ship the " Britannia;" 
on the right, a setting sun, and the French admiral's ship the " Soleil Royal," wlm 
is sinking; legend, " Sol. Oriens. Fugat. Occidcntcm" In the exergue is the dat 
" D$ May, MDCXCIir 



i6 9 a] WILLIAM III. 35 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book II., page 106. 

See the engravings (Nos. l. 2. and 3.) which are described with the same 
title and date, Nos. 1274, 1275 and 1276. 

Each circle, if in., diameter. Brit. Mus. Library, 157. k. 4. 



1278. 

" DE LAASTE AFSCEYDTS DRONCK VAN KONINCK JACOBUS 
by het verlies van de Zeeslag met de Koninck van Vranck- 
ryck na het Clooster. 

[The last Farewell Drink of King James, on losing the 
Sea-fight, with the King of France, and retirement into 
the Cloister.] 

\May 19, 1692] 

AN engraving, representing a landscape, with a sea-fight in the distance, a monastery 
on our left, in front, on our right ; behind is " Ornay" on a hill. Upon a platform, 
just risen from his chair of state, stands Louis XIV., " D" royally robed, holding 
the parting cup, " 6," which is inscribed " Ultimum vale" and shaking hands with 
James II., " E" who, with shaven crown and wearing a monkish habit, holds a 
broken sceptre and bears a crown, which slips from his bald head. On his girdle is 
" Sic fuit infatis ;" on the hem of his frock is " veni, vidi" but " vici " is omitted. 
Father Petre, " A" is pulling at his cloak and looking through a telescope at the 
wreck of the French fleet, see the text ; he tells James that time is pressing, and 
that he can only save himself by retiring to a monastery ; on the ground lie a 
sword, pyx, holy water-stoop, and other utensils, a crown, sceptre, money-chest, the 
torn Bill for freedom of conscience, a paper with seals, inscribed " Spes hie fracta 
jacet" " 21," &c. Behind the chair of Louis stands the court fool, " C," pointing 
at the kings, and moralizing. Between the kings are three monkeys dancing, " P" 
In another part, James appears as a monk, " 1 2," cowled, seated in a low waggon 
drawn by, " G" a cock (France), which a dog, " H" urges to speed by biting its 
comb ; it is likewise driven by, " F" a lion (Holland) exclaiming " to Triumphe, io 
Triumphed James crys " Quantum mutatis ab isto Hectore" 

Out of the monastery proceed some monks " J," to receive their new brother 
(James II.) A dog is pursuing a hare. The queen, " M" and the first Pre- 
tender, " Z," are near the steps of a mill, " N" towards which the latter runs in 
order to avoid his " false mamma " and join the miller, " 0," his " true papa." 
(See " Qualis vir Talis Oratio," No. 1174.) In the distance is the battle of La 
Hogue, with the motto, " Maturate fugam, vestroque ostendite Regi, non illi im- 
perium Pelagi" This motto appeared upon medals struck to commemorate the 
victory of William III. and as a retort to Louis XIV., who had used it upon a 
former occasion. Behind the scroll, on which is the above Dutch title of the print, 
are two crossed brooms, indicating that the English and Dutch admirals had swept 
the sea. In the air is Fame, with two trumpets, one of good, the other of bad 
news, these are aptly inscribed. In the sky are a church with a broken steeple, 
and the words " Tolluntur in altum ut lapsu gravio eruant" Another church in 
good repair, has " Qui stat, videat, ne cadat" The sun is setting in the sea, with 
the motto, " et Pluribus impar" a retort upon that of Louis XIV., " Nee pluribus 
impar." 

At the foot of the engraving is the following invitation, printed in letter-press, 
in Dutch : 

" You are respectfully bidden to the Monastery to the funeral of James, Duke 



36 WILLIAM III. [1694 

of York, formerly King of England, at present Lord of No-where (?), who 
languished for convent life on the day of the birth of the Prince of Wales, became 
worse on the coronation of King William, speechless since the loss of the 
naval battle, and got his death-blow in his last parting draught, without hope, hi 
deprivation of all means to recovery. 

Let all come who will." 

At the foot of this funeral card of invitation are three columns of Dutch verse, 
consisting of a conversation of the persons represented, Father Petre, the court 
fool, &c., with letters and numbers referring to those on the print. 

14|- X 12$ in. 



1279. 

DESOLATEN INVENTARIS VAN DE FRANSE WRACKEN. OPGE- 
MAEKT DOOR DE INTENDANTEN, 

[The disastrous Inventory of the French wrecks ; drawn 
up by the Superintendants.]] 

[By Romeyn de Hooghe.] {May 19, 1692] 

A Dutch broadside, with an etching showing the Dutch admiral, Opdam (?), 
called, " De Gentilman vol Glory " (the " Gentleman full of Glory "), " Z." receiving 
the salutations of " Den Intendant in Noot" (Superintendant in the Fleet ?), " JV." 
Behind stands " O" " De Roeper van de verloore Floot" (" The Crier of the lost 
Fleet;"), his dress is covered with fleurs-de-lis, and he is beating a French gong to 
attract attention to the subject of his crying. This is a post, to which is affixed an 
inventory of the French ships taken, burnt, and sunk, at the battle of La Hogue ; see 
" Le Crieur de Versaille," (No. 1.) same date, No. 1 269. To these persons comes 
galloping a tired and jaded ass, on which is riding James IT., " De Royale Courier, 1 ' 
as a courier, "A" ; over his shoulder he carries a letter-bag ; and in one hand a horn, 
in the other a long stick, with which he is belabouring the ass ; his coat is decorated 
with fleurs-de-lis, his hat with the pilgrims' cockle-shell of St. James of Compostella ; 
see " L'Epiphane du Nouveau Antichrist," No. 1167; " Panurge seconde par 
Arlequin Deodaat," etc. No. 1 1 94 ; and " La Feste des trois Rois," etc. No. 1212. 
Behind James are seated ".B" and " C," "D'Admirael in't vier" and "De Visen 
Admirael verbrand," i. e. who was burnt, the French admiral and vice-admiral ; the 
rear-admiral is falling off, the admiral holds a broken trident. The foreground is 
occupied by sailors collecting the fragments of the destroyed fleet, viz. a compass, 
which is grasped by a negro slave, with a collar about his neck, " G" " De Duiker 
in't hoi ; " " F" " De Algemist van Fransen, Yeren en Schotten," appears in 
an alembic of glass and holds a grappling iron : a bucket full of small valuable articles 
is grasped by a boy " /,'* " De Swabber van de Soliel Royal ; the most conspicuous 
part of the spoil is the stern of the " Royal Sun," the French admiral's ship, which 
was decorated with a meridian sun, the chosen emblem of Louis XIV., and here 
dragged by " E" " De strantman van de Driakelpotten." James II. is selected 
to carry the news of the destruction of the French fleet at La Hogue, as it was so 
disastrous to France and injurious to his own prospects. Two columns of Dutch 
verse are below the print, with the names of the persons represented, as quoted 
above. The verse is in the form of a dialogue between the persons ; below is the 
following satirical catalogue of losses : 

" To the Holy Court Ladies. 
" Part of the prow of the Louis. 
The carvings of the stern of the Sovereign. 
The end of the 



1692] WILLIAM III. 37 

A foul blunderbuss out of the Tonnant. 

The ramrods and mops of the Agreeable. 

The sucker of the pump of the Siren. 

The of the Aimable ? 

The broken helm of the Dolphin. 

To the Superintendanls. 
The broken capstan of the Victorious. 
The sprit sail yard of the Furious. 
The cap of the main mast of the Conquerant. 
The iron out of the Tiller of the Triumphant. 

To the Admirals. 

The hourglass of the Happy Return. 
The Hawsehole of the Intrepid," &c. 

loj X I3i- 

1280. 

"CANAILJE T. CANAEL UYT." 

[The Rabble driven out of the Channel.] (No. I.) 

\_May 19, 1692] 

A Dutch broadside, with the above title, comprising an etching, and two columns 
of Dutch verse in letterpress ; above the latter is this motto : 

" Matroos in zyn bouw, de Rotsack in Rouw, 
De Verraders gevangen, gereet om te hangen." 

[Sailors at harvest, Rascals in grief. 
Traitors caught, ready to be hanged.] 

The etching, which was probably by Romeyn de Hooghe, represents a sailor 
holding a knife and a broom, with which he has swept the sea ; at his feet kneels a 
Frenchman surrendering his sword and colours. Behind is an Englishman with an 
axe, about to cut down a Jacobite. In the distance is the battle of La Hogue. 

The letterpress is in the form of a dialogue in rhyme between a French- 
man, who begs quarter from a Dutch sailor, and the latter, who boasts that he has 
swept the seas with his broom and made an end of all the rascals (the French 
sailors). A Jacobite likewise prays to the Englishman for grace, and alleges that 
he only followed the orders of his master Louis XIV. Both the sailor and the 
Englishman are firm, and say that the only quarter to be granted to such 
enemies is for them to be quartered. The Englishman then says " God bles, 
the King, en the Queen." See the French verses, under " Canailje t. Canael 
uyt &c.", (No. 2.) same date, No. 1281. 

In the mid-distance a battle is proceeding on the sea shore. 

n X 8|m. 

I28l. 

" CANAILJE T. CANAEL UYT ETC." 

" De Engelsche en Hollandsche " Baanveegers Van het 
Canaal, geveegd by la Hogue, en de Kaap Barfleur. O.p 
den 29, 30, en 31. Mey, en Juny Anno 1692. 
[Rabble ! out of the English Channel ! 



38 WILLIAM III. [1692 

Th. English and Dutch Street Sweepers of the Channel, 
swept at La Hogue and Cape Barfleur, on the 29th, 3Oth, 
and 3lst of May, and June (1st), 1692.] (No. 2.) 

{May 19, 1692] 

THIS broadside is a copy, with certain variations, from that which is described 
as (No. 1.) with a similar title and the same date, No. 1280. It is inferior in 
execution to the original, "etc." has been added in the title, and " De Engelsche en 
Hollandsche" appears on the plate itself, the remainder of the inscription being 
in letterpress. 

The following verses, and a paraphrase in Dutch, are printed in four columns, 
below the engraving : 

" Matelot Hollandois. 

Place, place, & que chaqu'un tache de s'acquiter 

A faire les Francois en Lievres transformer 

Ou bien en des Charognes : 6 j'en ferai bien aise 

En leur donnant au Corps. Mais sans le batailler 

La Canaille s'echape sans qu'on 1'ait peu frotter. 

Et soit hors du Canal : va bougres, fuis & baise 

Mon derriere. Est ce ainsi se battre ou quereller ? 

Laissant le coeur chez vous, la desir a la rade : 

Ne pouriez vous alors faire quelque bravade ? 

Ou craignez vous tant, qu'on vous otat la peau ? 

Va voir au trou de Cafre Messieurs les Admiraux 

Qui vont merdrer les Lis dore, de peur d'etre connus 

Par les Anglois ; ay ant le regard d'un Cocu 

Sont ceux si, les Canonniers Mathematiques 

De Rochefort ? au bien les exercez au College Aquatique 

De Brest ? fui pour les Gentilmans & redoutez les Ribaux 

Ours infects & puans, tres pourris animaux 

Si tout ceci vous plait prenez en d'avantage 

Nous en avons encor beaucoup dans le menage. 

Franqois. 
Quartier Monsieur Flaman Quartier. 

Hollandois. 

Oui, vous aurez quartier, il faut vous dcartelet 
Et de toutes vos pieces Tiburn & le Voolwijk ornet. 

Francois. 

Grace Monsieur Flaman, Quartier Monsieur Anglois. 
Nous sommes innocent, c'etoit 1'ordre du Roy 
Louis. Maitre de la Mer, He ! que feray je moy ? 

Hollandois. 

Ce Neptun invante, vous fait songer du Diable : 
Vous, vous croyez avec 1O,OOO hommes Capable 
De faire une descente en Angleterre, & sans fagon 
Prendre la Ville de Londres, & mettre la Reine en prison ; 
Mais a present, que ces faux Ileros sont mis a labesace 
Tu demande Quartier, tu nous demande graces. 



i 7 6z] WILLIAM III. 39 



No Grace, no beheng, jou Schelmen jou Rocx 

Drain, hengt en Quartert al de Frans Docx, 

The Devel tekse te gedder die the Kingdom verraden 

Heig trahizon, beheng is the groote genaden 

Jaems en sijn Littelbooi in't Convent 

De Frens en Jacobits quartert, dit is jour end 

Ros bief of the Frens Cabrons heur spier. 

Hollandois. 

(Test pour vous mieux punir. 

Tu ne fera jamais de si sottes bravades. 

Dedans notre Canal; ny telles Gasconnades. 

Francois. 

Helas ! nos Admiraux au fond, 

5000 pieces de Canon, 

Toute la flotte pour transporter. 

Toute la flotte pour batailler 

Tout est tout en feu & en flame. 

Ah S. Louis ! ah Notre Dame ! 

Quartier Messieurs, nous sommes prisonniers. 

Hollandois. 

C'est pour apprendre le Flaman & 1'Anglois 

Que viendrez avec nous, & non pas 1'Irlandois. 

Et pour asseurer tout le Monde, 

Tant sur la Terre, que sur 1'onde 

Que vous etes d'imphames traitres, 

Aussi mechands que tout vos Pretres. 

Puis que par v6tre Argent vous cherchez la Victoire 

Ou par autre bravoure aussi lache que noire 

Mais fuyez au plutot invincibles Poltrons, 

II y a trop de peril avecque nos Canons ; 

Vous hasarderiez trop, et vous & votre maitre 

Vous battant avec nous, quand il n'y a point de traitre. 

Allez avec les Lievres & Renards des bois, 

Y chercher votre gloire, avecque vos exploicts. 

Car les Chevaliers de votre ordre, 

N'attrappent ici, que de la Corde. 

Sortez done du Canal abandonnez cette Eau 

Si vous ne desirez avoir de mon Couteau : 

Et n'y revenez plus, miserable Canaille 

Ou je vous bruleray comme on fait de la paille. 

L'Anglois. 
God bles the King, en the Queen. 

Hollandois. 

Et Messieurs les Etats ces Illustres Seigneurs 
Qui de tous leurs hainaux seront toujours vainquers 
En depit de la Rage ; et la haine terrible : 
Qu'a centre leur vertu cette Canaille horrible," 



4 o 



WILLIAM III. 



[1691 



1282. 

MEDAL ON THE RETREAT OF THE FRENCH ARMY, AUGUST 
3, 1692. 

\Avg. 3, 1692] 

OBVERSE, busts of William III. and Mary I., with legend " Guli: et Maria D. 
G. M: Brit: Fr et Hib. Rex et Regina." 

Reverse, the Cock of France, attacking the Lion of the Low Countries, who, 
armed with a bundle of arrows, the heraldic emblem of the United Provinces, is 
scattering the feathers of the Cock ; in the exergue are the arms of Great Britain 
and the United Provinces; legend, "3 Aug. Ex Ungue Leonem, 1692 ;" below 
this are the words " Pvgn : ad Angiam" 

See G. Van Loon's "Histoirc Metallique des Pays-Bas," 1732, Part IV., 
Book II., page 1 10. 

Each circle, 2| in., diameter. Brit. Mus. Library, 157. k. 4. 



1283. 

" AN EMBLEM OF YE ATHENIAN SOCIETY, 1692." 

London Printed For John Dunton at ye Rauen in ye Poultrey. F. H. Van. 
Hove sculp. [1692] 

A broadside, with a woodcut representing in five lines the subjects referred to 
in the text which is engraved below. In the centre of the highest line is the 
above title on a cartouche, which is sustained in the air by two angels, and sur- 
mounted by a raven, " N. n The second line represents "A" a row of gentlemen 
seated along one side of a table, each person has a pen in his right hand, and a 
sheet of paper lying on the table before him. One of these men is crowned 
witli laurel, and is probably intended for a poet, another has a bottle in his 
left hand, and may be intended for a physician ; next sits a divine. The third 
line is composed of men and women, who stand on the nearer side of the table ; 
among them are " .B," a lady in a mask holding a square object, probably a card, 
on which the questions addressed to the club may be written, in her hand ; all the 
figures in this line have similar objects in their hands ; " C," a lady with a lap- 
dog ; " J>," a gentleman looking at the moon with a cross-staff ; " E" a sailor ; 
" F" a geometrician examining a globe by means of compasses and a scale ; and 
"G" a lawyer. In the fourth line are many women, who appear to be making loud 
noises ; "//," a man beats a woman ; next is a similar group ; after these an angry 
woman assails a man with a knife and stick, he crys "Ae/y>, help, noble Athenians;" 
following these figures stands a man, " /," who, about to commit suicide with a 
dagger, is prevented by an angel ; a second man is about to hang himself. " 
between the second and third lines, stands at one end of the table, and places on it 
a coffee-pot, he holds in the other hand a cup. " Z," in the top line, shows a 
monkey compelling a cat to take chesnuts from the fire in a brazier, and saying, 
" Viviturex rapto" Near this group is a triangular figure which resembles a post- 
office stamp for letters ; it is inscribed with " Pott Paid Pcny" and a monogram 
of " M 7?," with "14" below it. On the other side, at the top, is " M" a land- 
scape comprising a mermaid in the sea, a watch tower (or a still), flying dragon, 
salamander, shooting-star, three suns, and a pyramid. In the four corners of the 
(U'HL r n are views of as many cities, which are respectively inscribed "Athens,* 
" Rome" " Oxford" and " Cambridge. 1 ' 



1691] WILLIAM III. 41 

The text is as follows, the letters refer to the design : 

" A. behind ye scenes sit mighty we 
nor are we known nor will we be 
the world and we exchanging thus, 
while we find chat for ym they work for us. 

B. dy'e see that lady ine ye mask, 
wee'l tell ye what she comes to ask 
tho an unconscionable task 

tis how her louer fast to bind 

false as her selfe false as ye faithless wind. 

C. that other brings her fav'rite flea 
with golden fetters lock and key, 

if t'has a sting our thoughts does craue 
or only a tongue as other females haue. 

D. thinking our notions too ieiune 
some take their aime at madam moon 
some bring hard queryes which we crack 
and throw the gazeing world ye kernels back. 

E. heres honest tarr who would his crown afford 
were he paid off 'ere he returns aboard 

to know what he must ask in vain 
when we shall beat ye french again 

F. enclid where art tho' twas before despaird 
now maist thou haue thy circle squar'd 
but art is long and thou must stay 

nor Rome was built nor athens in a day. 

G. we know sr, but too well your case 

some powrfull faction right or wrong embrace 

or starue and dye without a place ! 
II. auoid yon rowt of noisy fools 

once more you are not in our rules 

could we but please ye learned few 

which send from far, we could dispence wth you. 
I. whither, lost wretches ! whither wou'd you run 

by guilt or by unhappy loue undoii ! 

what need you perish or despair 

if you'd haue aid an angel shows you where 
K. this query's quickly understood 

he only asks-d'ye think his coffee good. 

yet wou'd croud in tho iust by th' door 

or now'd heed take our letters in no more. 
L. these dainty nutts I must not loose 

nor burn my paws b your leave dear puss ! 

if those that put em there enquir 

twas you not j that robb'd ye fire 

how sweet is interlopers hire ! 
M. all englands rarityes are gatherd here 

from unknown earth fire water aire 

thousands agree in such a glorious strife 

or else a moments work wou'd last a life 
N. with beak and talons j infest 

those cuckoes that invade my nest 

and if miiierva yet supply 

my antient gift in prophecy, 

all scab'd and old they in some hollow tree shall dye." 



42 WILLIAM III. [1692 

This print is the frontispiece to " The History of the Athenian Society, for 
the Resolving all Nice and Curious Questions. By a Gentleman who got Secret 
Intelligence of their Whole Proceedings," &c., fol. 1691-1696 (816. m. 23 / 135). 

See "The Life and Errors of John Dunton, 1818 (276, k. 28 and 29), Swift's 
"Ode to the Athenian Society," 1691. Frontispiece to "A Tale of a Tub," 
" The Whale Swallowing the Tub," (No. 1.), 1696, No. 1298. 

8J- X 9i *. 

1284. 

THE LAWYERS ARMS. 

" DUM VIVO THRIVO." [1692 ?] 

AN engraving. A shield of arms emblazoned on a scroll, with five seals appended. 
At the top is, " Noverint Universi" The bearings are, per fess, 1. a lawyer seated 
in his office receiving bribes with both hands from opposed clients ; all proper : 
2. per pale indented, between a book, proper, inscribed, " Coke upon Littleton" 
and two guineas of William III., and a shilling of Charles I. ; on the pale, three 
scrolls. Crest, a lawyer, couped, with a wolf's head, issuing from a mace, sur- 
rounded by deeds, writs, &c., inscribed with scraps of legal phrases. Supporters, 
two clients, the one sorrowful, the other rejoicing, who stand respectively upon a 
plough and a harrow. Motto, " Dum vivo thrivo." 
Below are engraved these verses : 

" Clients, Precarious Titles May Debate ; 
The Lawyer only Thrives, grows Rich and Great : 
The Golden Fee alone is his Delight ; 
Gold makes y e Dubious Cause go wrong or Right. 
Nay ; rather than his Modesty he'll hide, 
He'll take a Private Dawb o' t'other side : 
Heraldry ne'er Devis'd a fitter Crest, 
Than Sly Volpone so demurely drest : 
Lawyers by subtle querks, their Clients fleece, 
So when old Reynard Preaches, 'ware y e Geese. 
Two Purse-proud Sots y e quarrel for a Straw, 
Are justly y e Supporters of the Law : 
As Fools at Cudgels, find it to their Cost 
The best comes off but with dry Blows at Most. 
So wrangling Clients may at variance fall 
But 'tis y e Lawyer Runs away with all." 
8 X 8 in. 

1285. 

MEDAL ON THE RETREAT OF THE FRENCH KING FROM 
BELGIUM. (No. i.) 

{June 12, 1693] 

OBVERSE, head of Louis XIV.; legend, " Lvdovicvs Magnvs Rex." 

Reverse, Louis returning to Versailles, which is in the distance ; he stands on a 
triumphal car, which is drawn by two females, and is preceded by a third, who 
carries, by way of an ensign, an empty purse fastened to a stick ; on the top of this 
is the figure " O." Legend, " Venit, Vidit, sed non Vicit" In the exergue is, 
"A Belg\vc*\. Expedition*]. Irrit[&] 7te/[ux]. Versal[iis]. ^[ense]. 7iw[io] : 

MDCXCIII." 

On the 12th of June, 1693, Louis XIV. left his army and set out for Versailles 



1693] WILLIAM III. 43 

with the ladies of his court; he took the route of Marienbourg, Rheims, and 
Soissons, and arrived at Versailles on the 26th of June. See " La Retraite de 
Lovis XIV." &c., June 12, 1693, No. 1287. 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1732, Part IV., Book II., 
page 134. 

Each circle, i-f- in., diameter. Brit. Mus. Library, 157. k. 4. 

1286. 

MEDAL ON THE RETREAT OF THE FRENCH KING FROM 
BELGIUM. (No. 2.) 

[June 12, 1693] 

OBVERSE, laureated bust of William HI. ; legend, " Wilhelmvs. III. D. G. Aug. 
Sco. Franc, et Hib. Rex." 

Reverse, a cock and some chickens flying before a fox ; legend, " Nil. Cantvs. 
Nil. Nvmervs." In the exergue is, XII. Ivn. MDCXCIIL" 

See the engraving which is described with the same title and date, (No. 1.), 
No. 1285. 

See G. Van Loon's "Histoire Metallique des Pays-Bas," 1 732, Part IV., Book II., 
page 134. 

Each circle, 1-f- in., diameter. Brit. Mus. Library, 157. k. 4. 

1287. 

LA RETRAITE DE Lovis XIV. AVEC SON SERRAIL. 

" Het weder keeren van Lodewyk de xiiii. Metsyn Hof- 
gezin." 

[June 12, 1693] 

AN engraving. Louis XIV. beating a drum ; winding round a hill behind him is 
his army, in the rear of which are his ladies and courtiers. The design refers to the 
unexpected return of the French king, June, 1693, from before Namur to 
Versailles. 1 Underneath are six Dutch lines, with a French translation: 

" Dans les leux de Venus, j'ai mes forces usees, 
I'assemble mon Serail seulement pour le voir, 
Toutes mes trahisons au jour sont exposees, 
Des avoue de Mars je pers tout mon pouvoir, 
le demande la Paix, sur le declin malade, 
Helas ! c'est malgre moi que je bats la chamade." 

The Dutch title of this print is engraved above the figures. 
7 X 9|- in. 

1288. 

FRENCH MEDAL ON THE DEFEAT OF WILLIAM III. AT 
LANDEN. 

[July 29, 1693] 

OBVERSE, head of William, in a bag-wig ; legend, " Gvlielmvs. III. D. G. Britann. 
Rex. 

1 See "Medal on the Retreat of the French King from Belgium" (No. l.), 
June 12, 1693, No. 1285, and, with the same title and date, (No. 2.), No. 1286. 



44 WILLIAM IIL [1693 

Reverse, a drum standing in the middle of a field, being beaten by an arm, 
which comes out of a cloud, holding a stick ; the sleeve is charged with three fleurs- 
de-lis; in the distance are four fugitive horsemen; legend, " Mon sort est desire 
Batto." The flight of the Dutch horse is satirized by the last allusion. 1 

See G.Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., Book II., 
page 138. 

Each circle, l tn. diameter. Brit. Mus. Library, 157. k. 4. 

1289. 

A MEDAL ON THE BATTLE OF LANDEN. 1693. 

J. Boskam, F. {July 29, 1693] 

OBVERSE, a laureated bust of William III. turned to our right ; legend, " In- 
victissimvs Gvilelmvs Mag." 

Reverse, a combat between a heron and falcon, in which the latter, swooping 
on the former from above, is caught and impaled on its beak ; in the distance, the 
battle of Laxiden, or Neerhespen ; a level country and a town with churches ; 
legend, " Forti. sic Victor Vincitior. Art"(o) ; in the exergue, " XXIX. Ivl. 
MDCXCIIir 

See G. Van Loon's ." Histoire Metallique des Pays-Bas," 1732, Part IV., 
Book II., p. 140. 

Each circle, 2^ IB., diameter. Brit. Mus. Library, 1 57. k. 4. 



I29O. 

A MEDAL ON THE FRENCH VICTORY AT LANDEN. 

[July 2Q, 1693] 

OBVERSE, a bust of Louis XIV. without laurels, turned to our right ; legend, 
" Lvdovicvs Magnvs Rex." 

Reverse, a combat between a heron and falcon ; in which the latter, 
swooping on the former from above, is caught and impaled on its beak ; in the 
background a battle; legend, " Ex voto fatum" ; in the exergue is " Pugn: ad 
Land. XXIX. Jul. MDCXCIIir 

See G. Van Loon's " Histoire Metallique des Pays-Bas," Part IV., Book II., 
p. 140. 

See " French Medal on the Defeat of William III. at Landen," July 29, 
1693, No. 1288, and "Medal on the Battle at Neerhespen (Landen) same date, 
No. 1291. 

Each circle l in., diameter. Brit. Mus. Library, 157. k. 4. 



1291. 

MEDAL ON THE BATTLE AT NEERHESPEN (LANDEN). 

F. D. Winter. F[ecit]. [July 29, 1693] 

OBVERSE, laureated bust of William III., with the legend, " Invictissimvs Gmliel- 
ivs III". 

1 See "Medal on the Battle of Neerhespen," July 29, 1693, No. 1291. 



i6 93 ] WILLIAM III. 45 

Reverse, a porcupine piercing with his quills two dogs who attack him; 
legend, " Nvnqvam : Impvne, Lacessitvs" In the exergue is, "Pvgna ad Neerhespen 
XXIX. Ivlii MD CXCIIir This refers to the repeated attacks of the French and 
their allies on the camp of William III. 1 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., Book IT., 
page 140. 

Each circle, If- in. diameter. Brit. Mus. Library, 157. k. 4. 



1292. 

DR. OATES'S WEDDING. 

Voll. IV. p. 237. [Aug. 17, 1693] 

THIS print was designed to face p. 237, vol. iv. of " The Works of Mr. Thomas 
Brown" (commonly called Tom Brown), London, 1719 (12271. a.). 

It represents the marriage of Titus Gates, as described in the text. The scene 
is the interior of a chamber, with a table in course of being spread for a wedding 
repast ; a female servant advances with a tray on her head ; two persons enter the 
room by the open doorway ; a man, " Muggletonian" sits at the table, raising his 
hands and casting up his eyes in an exaggerated manner, as if asking a blessing on 
the food. In front the Devil, kneeling behind them, ties Gates and his bride 
together by means of a rope ; three persons stand near the pair, one of the three 
reads from a book, as if it contained the marriage service. On the wall is a 
picture of the burning of a city (Sodom) ; against the wall hangs an axe, re- 
ferring to the execution of Charles I. which the writers of Thomas Brown's 
category were accustomed to declare to have been brought about by a political 
party of which Gates was a prominent member. 

The text describes " The Widow's Wedding : Or, a true Account of Dr. Oats's 
Marriage with a Muggletonian Widow in Bread Street, London, August the 1 Sth, 
1 693. In a Letter to a Gentleman in the Country. Sir, the only news of Im- 
portance I have to communicate to you at present, is, that the famous and never- 
to-be-forgotten Dr. Oates, was marry'd the Beginning of this Week. You know 
for a Person of his Constitution, that always express'd, and perhaps inherited, an 

Aversion to the fair Sex ; and besides" "to confine himself at last to the 

insipid Duties of Matrimony, is as unnatural and unexpected a Change, as for an 
old Miser to turn Prodigal." 

The text continues with humourous accounts of the condition of Gates ; the 
public reception of the news that he intended to wed; his objects in marrying 
being described as follows : ; ' The Doctor (as I have been acquainted by several 
of his intimate Friends) had two reasons to induce him to marry in lus old Age 
The first was, his great Concern to see the Noble Army of Evidences defeated ; 
Bedloe, Dugdale, and Dangerfield, sleeping with their Fathers, viz. the Witnesses 
that swore against Susanna, and those that ston'd St. Stephen ; Fuller, who, with 
good Management, would have made a clever Fellow, bury'd alive in a Prison, Et 
cetera. Young, his vertuous companion, routed past all Hopes of rallying. Others, 
at the Sight of a Pillory or Whipping-Post utterly discountenanc'd, and asham'd 
of their Profession. So the Doctor, finding the whole Hopes of the Family of the 
Evidences centering in himself, and that if due care was not taken, the Species 
would be entirely lost, resolv'd, so far as in him lay, to prevent its utter Extinction, 
and to raise up Seed to the Popish Plot himself." The Doctor's friends are 
alleged to have been delighted with this notion, and to have cast about for a suitable 

1 See "French Medal on the Defeat of William III." July 29, 1693, No. 1 288. 
L'Enterrement De la Monarchic universelle," &c., Jan. 4, 1695, ^- 12 93- 



4 6 WILLIAM III. [1695 

mate for him. They pitched on " Mrs Margaret Wells of Bread-street (whose 
former Husband was a Muggletonian, and she continu'd of the same 1'erswasion)." 
The obtaining of the marriage-licence, the conditions of the marriage, the cere- 
mony, the feast, the prospects of the union, &c., are fully described. 

This print was used for the edition of the same author's works which was 
published in 1760 (245. i. 6). 

For satires on Titus Gates, see many entries to this Catalogue, e. g. Nos. 
1064, 1066, 1068, 1073, 1078, 1090, 1092, 1093, 1114, H34> H35, 1136, 
H37 11370, 1138, 1139, 1140, 11400, 1141, 1142, 11420, 1233, and "Round- 
heads & Whigs Compar'd," 1 709. 

2j X 3 j in. 



1293. 

L'ENTERREMENT DE LA MONARCHIE UNIVERSELLE DE Louis 

XIV. PAR LA MORT DU MARECHAL DE LUXEMBOURG, 

& PAR LA PRISE DE CASAL AND DE NAMUR. 

Begraaffenisse Van d'algemeenes Monarchie van Lodewyk 
de XIV. door het afsterven van den Marschalk van LUXEM- 
BURG, en dooz het reroveren van CASAL en NAMEN. 

A Paris ches Piere Dupre. In MS. " 8 Sept. 1695." Gedrukt tot Parys by 
Pieter Dichteby. A Paris chez Pierre Du Pre. [Jan. 4, 1695] 

THE " Biographic Universelle," 1 845, article " Luxembourg (Frangois-Henri 
Montmorency-Bouteville, Due de)," says of the death of this commander, which 
happened Jan. 4, 1 695 : " En effet, la mort de Luxembourg fut le terme des victoires 
de ce grande rnonarque. Doue d'un genie ardent, d'un coup d'oeil juste, il avait 
1' execution prompte. A la cour comme a la guerre il se montra constamment 
genereux, spirituel et franc. II etait un peu contrefait, et le prince d'Orange 
ayant dit un jour de lui : ' Je ne pourrai done jamais battre ce bossu-la ! Qu'en, 
sait-il ? s'ecria Luxembourg, il ne m'a jamais vu par-derriere.' " 

This Dutch broadside comprises an engraving and four columns of letter-press, 
in French as below, and Dutch ; being a dialogue to the same effect in both languages. 
The engraving represents a procession of generals and marshals bearing, on a bier, 
" A" " Le Corps du Due de Luxembourg," as indicated by the figures on the 
plate and the reference table beneath ; " Europa" a globe, is placed in his hands, and 
refers to " La Monarchie Universelle ;" a plan, " G" of " La Ville de Namur," 
hangs on one side of the bier, with another plan, " H" of " La Ville de Casal." 
The bier is borne by u A," "Le Marechal de Ville-Roi;" "J3," " Le Marechal 
de Catinat;" " C," " Le Marechal de Bouflers;" " D," "Le Due de Lorge;" u E 
"LeDuc de Nouailles;" and "F," "Mr. de Montal." Behind are "/f," "Le 
Cimetiere de 1'Eglise St. Denis ;" " L " (torn from the print), " La Bataillc de 
Fleurus ;" " M" " La Bataille de Landen." l 

The French letter-press is as follows : 

" Entretien entre le grand Visir Sf les Generaux Francois. 
Ou allcz vous, Messieurs, si tristes & si reveurs ? 

LE MARECHAL DE BOUFLERS 
Nous allons enterrcr la gloire de la France ? 

1 See " French Medal on the Defeat of William III. at Landen," July 29, 
1693, No. 1288; "Medal on the Battle of Neerhespcn," same date, No. 1291. 



1695] WILLIAM III. 47 

LE MABECHAL DE ViLLE-Roi. 

Monsieur, pour parler plus clair, nous portons en terre le Due de Luxem- 
bourg, & avec lui nous enterrerons la Monarchic Universelle de Louis XIV. 

LE GRAND VISIB. 
Quoy ! le Due de Luxembourg, ce grand Capitaine, est mort ? 

MB. DE CATINAT. 
Oui, il est mort, & ces funerailles que vous voyes sont sa Pompe funebre. 

LE GRAND VISIB. 
Mais ! qu'entendes vous par ce monde que le mort tiens entre ses mains ? 

LE Due DE LOBGE. 

Monsieur c'est le globe de la terre, qui signine le Monarchic Universelle de 
notre invincible Monarque. Et les deux Cartouches attaches sur le drap mor- 
tuaire representent Casal & Namur, que nous avons perdu en perdant le Due de 
Luxembourg. 

LE GRAND VISIB. 
Quoy ! vous aves laisse prendre aux Alliez Casal & Namur cette Campagne ? 

MR. DE BOUFLEBS. 

II n'a pas tenu a moy que cette demiere Place ne soit encore a la France, si 
j'avois ete seconde comme il le falloit. 

MR. DE MONTAL. 
Pour cela, il ne falloit que battre le Prince de Vaudemont avec sa poignee de gens. 

LE Due DE LORGE. 

Si cela n'est pas arrive, ce n'etoit pas faute de monde puisque je vous avois 
envoy e 15 mille hommes, sans parler d'un grand nombre d'autres Troupes 
accourues de toutes parts pour composer la plus belle Armee que la France ait 
encore eu sur pied. 

MR. DE CATINAT. 

Pour moy je declare que je n'ay aucune part a cette beveiie, & si Ton avoit 
fait son devoir en Flandres, comme je 1'ay fait en Savoye, je me persuade que Ton 
n'auroit pas perdu Namur. 

LE Due DE VILLE-ROI. 
Monsieur, vous pouvies du moins empecher la reduction de Casal ? 

MR. DE CATINAT. 

He ! comment Diable s'oposer avec cinq mille hommes qui est tout ce que 
j'avois de Troupes, a une Armee de quarante mille combattans. Bien-heureux 
d en avoir ete quitte a si bon marche. 

LE Due DE XOUAILLES. 

Pour moy, je suis content, & si on avoit fait en Flandres autant que j'ay 
fait en Catalogue avec ma petite Armee, bien loin d'avoir perdu, nous aurions 
remporte cette Campagne des avantages qui auroient procure a la France une 
bonne Paix. 

LE GRAND VISIB. 
A qui a-t-il done tenu que les affaires ne soient allees autrement ? 

MB. DE MONTAL. 
Au Due de Villeroi. 
LE Due DE VILLE-ROI. 

Quoy! n'ay-je pas bombarde Brusselles, & que pouvoit-on faire de plus 
glorieux pour la France que la rui'ne de cette Capitalle ? 



48 WILLIAM III. [1695 

MR. DE BOUFLERS. 

Monsieur, la France ne vous en a point d'obligation. II falloit battre le 
Prince de Vaudemont ; 1'occasion etoit belle : & par la vous auries sauve Nainur, 
& assure nos dernieres conquetes. Ou du moins apres avoir manque un si beau 
coup, vous devies venir droit a Namur, & livrer bataille aux Alliez. 

LE Due DE VILLE Roi. 
He ! par ou Diable passer, & comment forcer taut de denies ? 

MR. DE BOUFLERS. 

Avec une Armee de cent vingt mille Combatans on passe par tout. Vous 
m'auries secouru. & j'aurois conserve a Sa Majeste 16 mille bons hommes qui 
ont etc brules par le feu des bombes comme des Renards dans la fosse. 

LE GRAND VISIR. 

La alia illha Mahemet rasoul. Par le Dieu Grand, vous aves tout gate, cette 
Campagne Messieurs. Et a quoi ont servi tant de Conquetes & de Batailles. 
II faut a present recommencer la guerre a nouveaux fraix. Cependant vous 
saves que le Grand Seigneur mon Maire (sic) n'a jamais voulu consentir a la 
Paix si souvent offerte pour 1'amour de vous, parce que vous nous aves toujours 
prone I'invincibilite de votre Monarque notre Allie. Je vous declare done de la 
part du Grand Seigneur mon Maitre, que si vous ne repares ce coup fatal la 
Campagne prochaine par une bataille gagnee, ou par la reprise de Namur ; nous 
vous abandonnerons pour faire notre Paix separee avec Leopold. Adieu 
Messieurs, profites du Conseil que je vous donne." 

I5i X 7 . 



1294. 

GLORIA DEO. Finis coronat Opus. ON THE CROWING-CoCK, 
AND LYON COUCH ANT : Or, a Poem to Express the Gal- 
lantry of our Eoyal Chanticlere ; the Uncertainty of War, and 
Cock- Fighting, the Magnanimity of a brave General, and Ju- 
dicious Cocker : Writ on the News of the Surrender of Namur 
to our English Arms, Anno 1696, in Encomium of Unparal- 
ell'd Fortitude, and true English Valour Recorded in the 
Parable of the Game-Cock, to Congratulate His Majesties 
happy Return to London, leaving future Success to the Dis- 
posal of Divine Providence. 

\Avg. 4, 1695] 

A rubricated broadside, with an engraving and two woodcuts; the latter re- 
present the royal arms of England, and are placed one on each side of the 
former. Three columns of letter-press and the above title are below these 
prints. 

The engraving shows a lion lying on the ground in a landscape ; he appears to 
have been aroused from sleep by the crowing of a cock, which has perched on 
his haunches ; he scratches his ear with one of his paws ; a royal crown lies on 
the ground beside him. 

Two genii float in the air above the animals; these sustain, with their right 
hands, a great crown, and, with their left hands, by means of a cord on which 
they are strung, three smaller crowns. In front is a cock running away, as if 
beaten, three hens are following him. 



1695] WILLIAM III. 49 

The verses are as follows : 

" The King of Beasts doth Couch and Tremble here, 

And dreads the Challenge of our Chanticlere, 

As Monsieur doth our Brittish Monarch fear. 

The Epidemick Leo knew no Bound, ~| 

And would devour (even Satan like) around, > 

Till daring Eussel caught him in his Pound. J 

His Vain Ambition strikes at all above, 

Would be Earth's Emperour, and the Worlds great Jove. 

A Christian Monarch in a double Sense, 

With Laws divine, and Humane, can dispence, 

Enslaves his Subjects, scorns all Piety, 

Both to promote, and Masque his Tyranny. 

Interest his Idol is, his Money Charms, 

The Power of War, and conquers more than Arms. 

Heaven grant to King and Parliament such Coyn, 

That all may fight like us, like us may joyn, 

T' increase our Victories, whilst his decline 

Thus the Great Monarch's Pride his vast desire, 

Will like vain Phaeton in Flames expire : 

With Feints of War he cannot well dispense, 

Or dares to Fight No, not in his Defence, 

But on Advantage with Brave Insolence 

The Innate Virtue of our Faith's Defender, 

Makes Lewis 1'Ore, and his Great Forts surrender, 

Gallus Gallinaceus France his Dunghill Cock, 

With Poop unsavory and Langue-Doc, 

To our Game- Warriour is oblig'd to knock. 

Some love to set their Neighbours by the Ears, 

But dread a Change, when horrid Death appears : 

Proud Kings and Tyrants, Atheists God deny, 

Prove greatest Cowards when they come to dye ; 

So Gallick Cock, once try'd by narrow Heel, 

Of Brittains Chanticleers as true as Steel, 

Will start and Dance, (like Crow in Gutter strut, 

And give his Head for Cock's- Comb to be Cut, 

With fallen Hackle Courage down must creep, 

Shoot Pit by Land, and strike Saile on the Deep. 

We dread no Colours, scorn all j*E sop's Breed, 

And Stomachs have to fight as well as feed, 

Whilst Gods with us proud Lucifer must bleed. 

Ride Triumph o're his Goasts the Name of Wills 

Make Mounsieurs scamper on their own Dunghil 

And send Victorious Ecchoes to their Hills. 

We Crowing stand with shrill and louder Cries, 

Then e're was Eccho'd yet from rended Skies, 

O're Youth and Fortitude speak Victories. 

Our Royal Cock in Battle takes delight, 

To stimulate his Combitants to Fight : 

We hit at Sparring-Blows, but French Sa, Sa, 

Is a short flying Flurt English Huzza, -| 

Makes Lyons tremble, Great Ones run away, > 

And Forts impregnable our Arms Obey. 

France shew'd his Teeth, and meanly did oblige 

Our Conquest to attest, not raise the Siege, 

Whilst Villeroy with many thousand Men, 
II. E 



irrenae 
ock, 1 

: J 



jep. 

1 

Kl.J 
'.IIS 1 

ills, \ 



50 WILLIAM III. 

Did as they wont, march down the Hill again ; 

Like Nero, view'd the Flames, ne'er struck a stroke 

T' our Haughtboys Danc'd, and vanish' d in the Smoke, 

When our Great Victor bravely cross'd the Boyne, 

Where French and Irish did against him joyn ; 

He view'd their Arms, and boldly said, March on, 

No sooner said, but he the Battle won. 

Thus Royal Presence with true Courage clad, 

Vanquished his Foes, and made his Subjects glad; 

Gallick Bellona like, the Grecian Dame, 

Astonish'd at Namur's most dreadful Flame, 

Yielded the Fort, but did her Flowers retain, 

In hopes of Resurrection from the Main. 

Where e're Great William doth in Arms appear, 

The Flower-de-Luces fade, the Mightiest fear, 

England's plumed Hero will hold out to th 1 end, 

As well bred Steed upon the Spur will mend. 

Give Stabs for Stab, both weak Expiring lye, 

Will yet look Blows within each others Eye. 

A well-bred Branch of War will not refuse 

To Fight, although (by chance) the best may loose ; 

Sometimes the knockt-down Foe dead in a Trance, 

Hazzards a Blow, and makes the Devil Dance ; 

And then the Ten Pound Bett he doth confound, 

The Battle wins, with Honour he is Crown'd, 

Even after Death he sent the nicking Blow, 

And left in Honour's Bed his bleeding Foe. 

Great Odds were lost when Fortunatus sought it, 

And gave the Bagg unto a who had thought it : 

But lo ! Namur's regain' d, not by a chance, "j 

By Blows, true Fight, God's Wrath impending France, !* 

Our Victor's Trumpets make Grand Monsieur Dance. J 

William's the Cock of Game who bids Defye on 

Most Christian Monarch, Turk, and Roaring Lyon. 

Bouffleurs at Head on's Arms, at Royal Pleasure, 

Is made a Pledge to Ransom England's Treasure. 

Our Albion Sons of Mars are by good Fate, -| 

Now free to March, nay, enter Paris Gate, > 

Whilst Gallick Tyrant may prove Abdicate. J 

To th' King of Kings French Jupiter must quake, 

When English Arms doth make all Europe shake, 

Our Hackle's tite, the Lyons Tail is down, 

An Ominous Presage to th' French King's Crown, 

We treat with Sword in Hand, will hear no Truce, 

Wait Heaven's Fiat, for the Flo tver-de- Luce. 

When Swords to Plow-shears turn, who wins the Crown, 

A Conqueror Revived, stands oh Renown. 

There was of late, and from the German Stock, 

A large and Beautiful, but wondrous Cock, 

A spacious Orange did his Crest adorn, 

From whence there issued out (at top) a Horn, 

While yet that Prince, who does his Glorious Name, 

From that known Title by his Valour Claim, 

And had not yet acquired by his Sword, 

That Nobler Stile of Albion s Great Lord. 

This liv'd. But when Great William took our Throne, 



[1695 



1695] WILLIAM III. 51 

It languish'd, and straight dy'd Fate here does own, 

By this strange Omen that the Brave Nassaiv, 

Who only once did keep the Dutch in awe, 

Now in possession of a Diadem, 

Those smaller Dominations should contemn, 

The Prince who set a Mighty King, does rise. 

A true Asserter of our Liberties, 

The NEWS must spread, that France who aim'd at all, 

And did design to bring our World in Thral, 

With soaring Icarus, like him shall fall. 

THE CONCLUSION. 
The Covetous and most Opinionate, 
Oft meet i'th' Fortunes Frowns ; the Gamesters Great, 
Judiciously can Cock above cross Fate, 
And wants not Courage to be Fortunate ; 
Fortitude nee'r fails bold Brittains Cocker, 
And is as serviceable to Loves Smocker. 

But He (by Heaven) is call'd to Fight Gods Cause, 

Preserve Religion, Liberties, and Laws, 

O're Death and Satan Croweth, and shall be 

The Worlds Grand Victor to Eternity. 

The Man of God whose Sword at Trumpet sounds ~j 

Victorious Triumphs, writes in Blood and Wounds, > 

With Peace and Plenty Christendom abounds. J 

Finis Coronat Opus. 

EPIGRAM. 

In Eighty Eight Spain sent a vast Armado. 

In Ninety- Two the French made their Bravado ; 

The Attempt of both did equally prove vain, 

France bragg'd as much, and lost no less than Spain ; 

Grand Lewis's Royal Sun is set at last, 

And Namur all their Day-light overcast. 

By a true Cocker, 

And no less Loyal Subject, 
G. C. Gent." 

64 * 4jr * Brit. Mus. Library, C. 2O. f. " Poetical Broadsides," p. 1 63. 



1295. 

MEDAL ON THE RETREAT OF THE MARSHAL DE BOUFLERS, 
AND THE SIEGE OF NAMUR, Sept. i, 1695. 

'*" {.Sept. 1, 1695] 

OBVERSE, laureated head of William III. ; legend " Gulielm. Ill D. G. M. Brit: 
Fr : et Hib : Rex F. D. ' F: A." 

Reverse : the Lion of the United Provinces holding a sword, and pursuing 
three cocks ; legend " Salvs. in. Fvgacibvs. Alis." In the exergue is " Namvrco 
Expvgnato. Galli. in. Avxilivm. Missi Avfvgivnt. 1. Sept. 1695." 

See G. Van Loon's " Histoire Metallique des Pays-Bas," 1732, Part IV., Book 
III., page 1 96. 

Each circle, 1 J- in., diameter. Brit. Mus. Library, 157. k. 4. 



5 2 WILLIAM II L [1696 

1296. 

THE TRIUMPHS OF PROVIDENCE OVER HELL, FRANCE, & 
ROME, In the Defeating & Discovering of the late Hellish 
and Barbarous PLOTT, for assassinating his Royall Majesty 
KING WILLIAM y c III. Lively displayd in all its Severall. 

[Feb. 14, 1696] 

THIS print, which refers to the Assassination Plot, is divided into several scenes. 
In the centre, at the top, is, " A," "A solemn Procession for ye good success of the 
PLOTT." This consists of soldiers, musicians, officers, servants, priests, one of 
whom carries the Host and walks under a canopy, prelates, monks, friars, Jesuits, 
&c., including the Pope, who is borne on men's shoulders, with the Devil behind 
and whispering in his ear. In the middle, "," a scene called "LIMP" This 
shows Louis XIV. seated, vomiting towns, and exclaiming, " O give me Ease ril 
bring up any thing." A physician in attendance asks, " Does not Givet Stick in 
your Stomach?" In the background is a cradle with the infant Pretender, and 
near it are James II., his Queen, Father Petre, &c. ; above it a picture of an ape 
administering a clyster. At the sides of the picture are a four-headed Jesuit and 
a triple-headed courtier; the former is girt by snakes, and wears, on the respective 
heads, a Jesuit's cap, a gentleman's hat, and a Turkish turban ; see " A satirical 
Medal," &c., No. 1 1 84. The fourth head is that of a devil. At the bottom are, 
" E," King William travelling in his coach beneath " The Eye of Providence (which) 
sees a/7," and a band of conspirators enclosed by a label, bearing " These were to 
Assassinate the King" 

At each side are four designs, l ., " B" " K. James Receives the Benediction 
by y e Nuncio to subdue the Heretycks ;" the Nuncio says " His Holinesses Blessing 
attend you? as James kneels before him. 2., " C," " King James in Barckes at Callis 
for to Invade England in Companied with monk and Friers." 3., "D," " The Duke 
of Berwick in Masquerade in Drapers Hall in February last dances in Caballing." 
Four persons dancing, over them " Welcom to Town." 4. "F" " Charnock, King, 
and Keys. Then Sir William Perkins and Sir John Frind these were Try'd at 
y e Old Baly and Received Sentence of Death." 5., " K" " King James Runs to 
Shore in Confusion for being afraid of the English fleet." 6., " T 7 ," King 
William Doth Grant his Gracious Pardon to Prendergras for the first discovery of 
y e Plott." 7., " G" " Brigadeer Rookwood, Major Lowick and Captain Cranborn, 
these were try'd at y e Kings Bench." 8., "If," "Charnock, King, and Keys 
were ye First, then Sir William Perkins and Sir John Frind & Then Rookwood, 
Lowick & Cranburn died at tybum." 

Three columns of letterpress follow, thus 

" The Great Design's Resolved ; And there must be 
Fasting, to introduce a Jubilee : 
And Prayers and Great Processions must be Made, 
For Heavens Help, to Plotts that Hell had laid 
And next in Council sits the Great Divan, 
Who come to this Result, That nothing can 
Succeed of their Attempts by Night or Day, 
Until they take King WILLIAM'S Life away : 
Which to effect, some barbarous Villans be 
Sent to Assassinate his Majesty. 
This Council (that for Lucifer did pimp) 
Was by themselves Characterized LIMP: 
A proper Term ! for those who thence did Roam, 
CiuiL'ht by the Hangman, came but Limping home. 



1696] WILLIAM III. 53 

" But to prepare things, Benvick first must go, 

And there remain a while Incognito ; 

Who reckoning that the Plot was firmly laid, 

Dances at Drapers Hall in Masquerade : 

With High-Crown'd Hat, and 'bout his Neck a Ruff; 

Better becoming Him than Steel, or Buff; 

And tho' the rest in Ignorance did lie, 

WELCOME TO TOWN, was still the Plotters cry. 

But hoping now all things would well succeed, 

He back again to France returns with speed : 

And tells King James, Their Plot was laid so deep, 

The Prince of Orange seem'd to be a sleep : 

And thereupon King James to Calice flies, 

As Super Cargo of the Enterprize : 

And that it might Infallibly succeed, 

There the Popes Nuncio does repair with speed, 

His Holinesses Blessing to bestow, 

That he might th' English Hereticks Oe'rthrow. 
" And now the Assassins come to give the Blow, 

(Which had it took, had wrought all Europe's Woe) 

The very Day is fix'd, the Ambush laid, 

Which should the Life (so dear to all) invade : 

But then High PROVIDENCE (whose PIERCING EYE 

Did into their most secret Counsels pry) 

Brings their Dark Deeds to Light ; that thereby all 

The Ills they meant, on their own Heads might fall ; 
Mongst that Slack Crew were some, whose Hearts did hate 

Those damn'd Designs they were to perpetrate ; 
And therefore were by Heaven ordain'd to be 

Th' Instruments of this blest Discovery : 

Which when they'd made, and the King found it true, 

He did both Pardon and Reward 'em too : 

The chief who this Discovery brought to pass, 

May well be termed Honest Prendergrass ; 

The Tables now are Turn'd ; and, Thanks to Heaven, 

A just Reward is to the Traytors given : 

First, Charnock, King and Keys, are brought to th' Bar, 

Where they Arraign'd, Try'd and found Guilty are : 

From thence to Tyburn they a Journey take, 

And on the TRIPPLE TREE their Exits make : 

Confessing, ere they took their fatal Swing, 

The Black Design they had against the King. 

Sir William Perkins next, and Sir John Friend, 

Do their Unhappy Lives at Tyburn End : 

For being caught ith CORN, it is but reason 

That they should both be POUNDED for their Treason, 

The Rookwood, Lowick, Cranburn next were Try'd, 

And in like manner all for Treason Dy'd. 

" Lewis and James, who this Vile Plot had laid, 
Knew not, as yet, their Treason was betray'd : 
Nay, they indeed, suspecting nothing less, 
Were getting all thing in a Readiness, 
To second that Bold Stroke that should be made, 
And England with French Forces to invade : 
The Army was Embarkqu'd, the Fleet was Stor'd, 
And James himself ready to go on Board, 



54 WILLIAM III, [1696 

With his black Guard of Jesuites, Priests and Fryars, 
The only Company that he desires : 
Expecting th' happy Signal now from Dover, 
That all was ready for him to come over. 

" But what Confusion in King James it wrought, 
When he was told his Plot was come to Nought ! 
That th' English Fleet was almost come in view, 
To take both him and all his Forces too : 
He made not half the haste into the Main, 
As now he did to get on Shear again. 
The Transport Ships design'd to waft him o're, 
Now Dash to pieces on the Gallick Shear : 
Whilst th' English Fleet appearing in their sight, 
Put the whole Coast of France into a Fright ; 
And James and Lewis both now think it best, 
Against this Plot to enter their Protest : 
And send it to all Princes Courts in Print, 
Protesting they had not a Finger iiit : 
Tho' that 'twould take, they once themselves did flatter, 
Like Twyford, they knew nothing of the matter : 
But if we look about, we soon shall find 
What 'twas made James and Lewis change their Mind : 
The Noise this Plot made, of so black a Thing, 
Design'd against the Life of England's King, 
By Europe's Princes was resented so, 
That he who own'd it was their Common Foe. 
Each Court in Europe, Kingdom or Free-State, 
The Kings Deliverance did Congratulate. 
If therefore France did not the Plot disown, 
He thought he should for th' Author on't be known, 
But let htm nee'r so much Disown the Plot ; 
Twill in his 'Scutcheon be a lasting Blott. 

" But one Disaster seldom comes alone : 
Their deep laid Plot by Heaven thus over-thrown, 
The Stores laid up at Givett with such care, 
By the Confederates next consumed are, 
And all the Measures Lewis did Design, 
Lost by the Burning of that Magazine : 
This last Loss touches Lewis to the Quick ; 
And not being well before, this makes him Sick : 
Heat makes him Costive ; and his Body blister ; 
For which the Doctor straight prescribes a Glister ; 
And tells him, That if Glisters will not do, 
He must a Vomit take, to make him Spew. 
The Glister failing, he a Vomit takes ; 
Which mighty Rumbling in his Stomach makes : 
After a little walking up and down, 
And some hard strainings, up he brings a TOWN. 
O Doctor, says he, I am very sick ; 
Theres something still does in my Stomach stick : 
Strive, says the Doctor ; strive, Sir once again , 
He does, and straight he Vomits up LORRAIN : 
That's well, the Doctor cries, but that irnn't do ; 
There's more behind; bring up BURGUNDY too : 
O I'm so mighty Sick, replies the King, 
To be at Ease, I'll bring up any thing." 



,696] WILLIAM III. 55 

At the foot of the verses is a reference table, with letters indicating the 
subject of the designs, as above described. 
13|- X SI in. 



1297. 

" THE NEW STATE OF ENGLAND." 

/. Sturt Sculp. [1696] 

THIS engraved frontispiece was published in 1696. See the same title, 1690, 
No. 1256, and 1691, No. 1268. As Queen Mary was then dead, her portrait 
gave place to the figure of a bishop, of which the face resembles that of Burnet. 
The monogram was removed, and " W" and " R " were engraved at the sides of 
the crown. 

3i X ST- 

1298. 

FRONTISPIECE TO u A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Edition. 

1724." 

The Whale swallowing the Tub. (No. I.) 
G. Clark sculp., to face the Title, p. l. [1696] 

THIS engraving represents the sea in a stormy state, and a ship with one mast only, 
and rigged after the manner of mediaeval vessels, her hull resembling that of a classic 
galley ; she is labouring on the waves ; her crew of three persons appear to be 
working the sail. In front is a large whale, spouting water from its nostrils high in 
the air, and turning sharply round in its course to swallow a barrel or tub, which 
floats on the sea, and seems to have been thrown out of the ship. This print was used 
again for the edition of " A Tale of a Tub," which appeared in 1727 (l 2330. bb.). 

" An Apology " states that " The greatest Part of that Book was finish'd above 
Thirteen Years since (1696), which is Eight Years before it was publ'shed." * On 
this account the series of illustrations to the famous satire by Deau Swift is cata- 
logued here under the date 1 696. 

The design of the engraving is thus explained in " The Preface," also the 
author's intention in writing the satire : 

" The Wits of the present Age being so very numerous and penetrating, it 
seems, the Grandees of Church and State begin to fall under horrible Apprehensions, 
lest these Gentlemen, during the Intervals of a long Peace, should find Leisure to 
pick Holes in the weak sides of Religion and Government. To prevent which, 
there has been much Thought employ'd of late, upon certain Projects, for taking 
off the Force and Edge of those formidable Enquirers, from canvasing and reasoning 
upon such delicate Points. They have at length fixed upon one, which will re- 
quire some Time as well as Cost, to perfect. Mean while, the Danger hourly 
increasing, by new Levies of Wits, all appointed (as there is Reason to fear) with 
Pen, Ink, and Paper, which may, at an Hour's Warning be drawn out into Pam- 
phlets, and other Ofensive Weapons, ready for immediate Execution ; It was judged 
of absolute Necessity, that some present Expedient be thought on, 'till the main 

1 The first edition of " A Tale of a Tub " appeared in 1 704, in which year three 
editions were published. 



WILLIAM III. 



[1696 



Design can be brought to Maturity . To this End, at a Grand Committee, some 
Days ago, this important Discovery was made by a certain curious and refined 
Observer ; That Sea-men have a Custom when they meet a Whale, to fling hi m 
out an empty Tub, by way of Amusement, to divert him from laying violent Hands 
upon the Ship. This Parable was immediately mythologiz'd : The Whale was in- 
terpreted to be Hobbs's Leviathan, which tosses and plays with all other Schemes 
of Religion and Government, whereof a great many are hollow, and dry, and empty, 
and noisy, and wooden, and given to Rotation. Tin's is the Leviathan from whence 
the terrible Wits of our Age are said to borrow their Weapons. The Ship in 
Danger is easily understood to be its old Antitype, the Commonwealth. But, how 
to analyze the Tub, was a Matter of Difficulty ; when after long Enquiry and 
Debate, the literal Meaning was preserved : And it was decreed, That in order to 
prevent these Leviathans from tossing and sporting with the Commonwealth, (which 
of itself is too apt to fluctuate') they should be diverted from that Game by a Tale 
of a Tub. And my Genius being conceived to lye not unhappily that Way, I had 
the Honour done me to be engaged in the Performance. 

" This is the sole Design, in publishing the following Treatise, which I hope 
will serve for an Interim of some Months, to employ those unquiet Spirits ; till the 
perfecting of that great Work : Into the Secret of which, it is reasonable the cour- 
teous Reader should have some little Light." 

2l X 4f in. Brit. Mus. Library, 1079. h. 6. 



1299. 

AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Edition, 
1724." 

The Tub-Preacher and the Mountebank. (No. I.) 

[1696] 

THIS engraving represents a preacher discoursing from a tub, which serves him by 
way of pulpit, and is placed on a stage supported by brackets, and projecting from 
the wall of a room in which are assembled many persons, men and women, who 
listen attentively to the speaker. An open window permits a view of a market- 
place, or fair, with a considerable number of persons assembled before a platform 
on which are a mountebank and his zany. At the side of the platform is a gallows 
with a ladder placed against it ; on the ladder is a man standing bound, and appa- 
rently in the act of praying before he is thrust off by an executioner, who sits astride 
of the upper beam of the gallows. This print was used again for the edition of u A 
Tale of a Tub," which appeared in 1727 (12330. bb.). 

At foot of the print is "Introd. p. l." 

The satirist in " The Preface," gives accounts of preaching as practised in various 
places Covent Garden, Whitehall, the Inns of Court, and the City of London 
and aptly satirizes particular vices in each of them. He thus opens " The Intro- 
duction," with an exposition of his purpose: 

" Whoever hath an Ambition to be heard in a Crowd, must press, and squeeze, 
and thrust, and climb with indefatigable Pains, 'till he has exalted himself to a cer- 
tain Degree of Altitude above them. Now, in all Assemblies, tho' you wedge them 
ever so close, we may observe this peculiar Property ; that over their Heads there 
is Room enough ; but how to reach it, is the difficult Point ; it being as hard to get 
quit of Number as of Hell ; 

IZrtidcrc (id aiirus 

!! nu.f. hie labor 



1696] WILLIAM III. 57 

To this End, the Philosopher's Way in all Ages, has been by erecting certain 
Edifices in the Air; But, whatever Practice and Repiitation these kind of Struc- 
tures have formerly possessed, or may still continue in, not excepting even that of 
Socrates, when he was suspended in a Basket to help Contemplation ; I think, with 
due Submission, they seem to labour under two Inconveniences. First, That the 
Foundations being laid too high, they have been often out of Sight, and even out of 
Hearing. Secondly, That the Materials, being very Transitory, have suffer'd much 
from Inclemencies of Air, especially in these North -West Regions. 

" Therefore, towards the just Performance of this great Work, there remain but 
three Methods that I can think on ; whereof the Wisdom of our Ancestors being 
highly sensible, has, to encourage all aspiring Adventurers, thought fit to erect 
three wooden Machines, for the Use of those Orators who desire to talk much 
without Interruption. These are, the Pulpit, the Ladder, and the Stage- Itinerant. 
For, as to the Bar, tho' it be compounded of the same Matter, and designed for 
the same Use, it cannot, however, be well allowed the Honour of a fourth, by reason 
of its level or inferior Situation, exposing it to perpetual Interruption from 
Collaterals. Neither can the Bench it self, tho' raised to a proper Eminency, put 
in a better Claim, whatever its Advocates insist on. For, if they please to look 
into the original Design of its Erection, and the Circumstances or Adjuncts sub- 
servient to that Design, they will soon acknowledge the present Practice exactly 
correspondent to the Primitive Institution, and both to answer the Etymology of 
the Name, which in the Phoenician Tongue is a Word of great Signification, im- 
porting, if literally interpreted, The Place of Sleep ; but in common Acceptation, 
a Seat well bolstered and cushioned, for the Repose of old and gouty Limbs: Senes 
ut in otia tuta recedant. Fortune being indebted to them this Part of Retaliation, 
that, as formerly, they have long Talks, whilst others Slept, so now they may Sleep 
as long whilst others Talk. 

" But if no other Argument could occur to exclude the Bench and the Bar from 
the List of Oratorial Machines, it were sufficient, that the Admission of them 
would overthrow a Number, which I was resolved to establish, whatever Argument 
it might cost me ; in Imitation of that prudent Method, observ'd by many other 
Philosophers and great Clerks, Avhose chief Art in Division, has been, to grow fond 
of some proper mystical Number, which their Imaginations have rendred Sacred to 
a Degree, that they force common Reason to find Room for it in every Part of 
Nature ; reducing, including, and adjusting every Genus and Species within the 
Compass, by coupling some against their Wills, and banishing others at any Rate. 
Now among all the rest, the profound Number THREE is that which hath most 
employ'd my sublimest Speculations, nor ever without wonderful Delight. There 
is now in the Press (and will be publish'd next Term) a Panegyrical Essay of 
mine, upon this Number ; wherein I have, by most convincing Proofs, not only 
reduced the Senses and the Elements under its Banner, but brought over several 
Deserters from its two great Rivals SEVEN and NINE. 

" Now, the first of these Oratorial Machines in Place as well as Dignity, is the 
Pulpit. Of Pulpits, there are in this Island several sorts ; but I esteem only that 
made of Timber from the Sylva Caledonia, which agrees very well with our Climate. 
If it be upon its Decay, 'tis the better, both for Conveyance of Sound, and for 
other Reasons to be mentioned by and by. The Degree of Perfection in Shape 
and Size, I take to consist in being extreamly narrow, with a little Ornament, and 
best of all without a Cover ; (for by ancient Rule, it ought to be the only uncover'd 
Vessel in every Assembly where it is rightfully used) by which means, from its 
near Resemblance to a Pillory, it will ever have a mighty Influence on human 
Ears. 

" Of Ladders I need say nothing : 'tis observed by Foreigners themselves, to the 
Honour of our Country, that we excel all Nations in our Practice and Under- 
standing of this Machine. The ascending Orators do not only oblige their 
Audience in the agreable Delivery, but the whole World in their early Publication 



WILLIAM III. 



1696] 



of these Speeches ; which I look upon as the choicest Treasury of our British 
Eloquence, and whereof I am informed, that worthy Citizen and Bookseller, Mr. 
John J)u/iton, hath made a faithful and a painful Collection, which he shortly 
designs to publish in Twelve Volumes in Folio, illustrated with Copper-Plates. 
A Work highly useful and curious, and altogether worthy of such a Hand. 

" The last Engine of Orators, is the Stage Itinerant, erected with much Sagacity, 
sub Jove pluvio, in triviis Sf quadriviis. It is the great Seminary of the two 
former, and its Orators are sometime preferred to the One, and sometimes to the 
Other, in proportion to their Deservings ; there being a strict and perpetual 
Intercourse between all Three." 

For " Mr. John Dunton," see " An Emblem of ye Athenian Society," 1692. 
No. 1283. 

2 & x 4f * Brit. Mus. Library, 1079. h. 6. 



1300. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Kdition, 
1724." 

The Brothers, Lord Peter (the Pope), Martin (Martin 
Luther), and Jack (John Calvin), reading their Father's 
Will. (No. i.) 



p. 23. 



[1696] 



THIS engraving represents three gentlemen standing in a room and examining a 
large roll of paper which is in their hands. A window is behind. The print faces 
p. 23, in the book named in the title. This print was used again for the edition 
of "A Tale of a Tub," which appeared in 1727 (12330. bb.). The roll of paper 
appears to be intended for the will of the father of the three sons who are descril 
in the following extract from the text, p. 22 : 

" Sect. H. 

Once upon a Time, there was a man who had Three l Sons by one Wife, and all 
at a Birth, neither could the Mid- Wife tell certainly which was the Eldest. Their 
Father died while they were young ; and upon his Death-Bed calling the Lads to 
him, spoke thus." 

The text proceeds to describe how the Father left to his sons certain new coats, 
one for each of them, which had the properties of, " with good wearing," lasting 
fresh and sound as long as the owners lived, of expanding with their growth, and 
at all times fitting well. A note corrects, or pretends to correct, a comment of 
" W. Wooton's," that the garments of the Israelites were intended by these coats, 
by stating that, " by these coats are meant the Doctrine and Faith of Christianity, 
by the Wisdom of the Divine Founder, fitted to all Times, Places and Circum- 
stances." Bentley stated that the Cliristian religion was intended by these coats, 
and that the Bible was the will referred to in the dying speech of the Father. The 
ynunj: men's conduct after their father's decease is described, also the course 
their lives in town, t. e. life, with an account of a new sect, who adored their creator, 
the tailor, of which idol an account is given, and of the sons worshipping it, con- 
trary to their father's will : and getting shoulder-knots by way of distinctions ; gold 
lace, by help of traditions ; flame-coloured satin lining, by means of a supposed 

1 " By these three Sons, Peter, Martyn, and Jack ; Popery, the Church of 
England, and our Protestant Dissenters are designed. W, Wootton." 



1696] WILLIAM III. 59 

codicil to the will ; silver fringe, by virtue of critical interpretation ; and embroidery 
of Indian figures, by laying aside the plain literal meaning. The will is at last 
locked up. Peter got into a lord's house, and after his death turned out the lord's 
children, and received his own brother's in their stead. Then follows, " Section III. 
A Digression concerning Criticks,*' which suspends the action of the tale. The 
story is further illustrated in " An Illustration to ' A Tale of a Tub,' &c. Lord 
Peter kicking his Brethren out of Doors," (No. 1.), 1696, No. 1301. 

2| X 4-f- in. Brit. Mus. Library, 1079. h. 6. 



1301. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Edition, 
1724." 

Lord Peter (the Pope) kicking his Brethren (Martin 
Luther and John Calvin) out of Doors. (No. I.) 

P. So. [1696] 

THIS engraving shows Lord Peter (the Pope) with three hats on his head, wearing 
a bunch of keys at his girdle, and otherwise richly dressed and bedizened, expelling 
his brethren from the house which their father left in common to his three sons ; 
one of the expelled men runs to our left, the other hesitates and turns, not running, 
to our right. Behind, stand a woman and two men, one of whom carries a musket, 
thus referring to the Civil Power, or " Peter's Dragoons," whom Peter had called to 
aid him against those who differed from him in belief. The doorway is sur- 
mounted by an arch over the lintel between the lintel and the arch is an antique 
tragic mask. This print was used again for the edition of " A Tale of a Tub," 
which appeared in 1727 (12330. bb.). 

This engraving faces page 80, in the book which is named in the title. 

The satire continues from the part described under " An Illustration to ' A Tale 
of a Tub,' " " The Brothers reading their Father's Will," (No. 1.), 1696, No. 1300. 
The will of the father was locked up, i. e. as a note states, " The Papists formerly 
forbad the People the Use of Scripture in a Vulgar Tongue ; Peter therefore locks up 
his Father's Will in a strong Box, brought out of Greece or Italy. These Countries 
are named, because the New Testament is written in Greek, and the Vulgar Latin, 
which is the Authentic Edition of the Bible in the Church of Rome, is in the Lan- 
guage of old Italy." Note to p. 42. The " embroideries" referred to before, as 
assumed by the brethren, are intended to represent the confusion and excessive 
distortion of the plain meaning of the Scriptures. 

Peter gets into a " Lord's house," i. e. becomes servant of Constantino the 
Great, " from whom the Popes pretend a Donation of St. Peter's Patrimony, which 
they have never been able to produce ;" here he was employed to teach the children 
of that lord, and when the latter died he kicked the children out of the house, and 
introduced his brothers Martin and Jack in their places. Peter assumed grandeur 
and titles, and to support them, turned projector of means to get wealth. The 
first " undertaking of the Lord Peter was to purchase a large Continent (Purgatory) 
lately said to have been discovered' in Terra Australis incognita. This tract of 
land he bought at a very great Penny-worth from the Discoverers themselves (tho' 
some pretended to doubt whether they had ever been there) and then retailed it 
into several Cantons to certain Dealers, who carried over Colonies, but were all 
Shipwreckt in the Voyage. Upon which, Lord Peter sold the said Continent to 
other Customers again, and again, and again, and again, with the same Success." 

The second project was a remedy for " Worms, especially those in the Spleen, 



60 WILLIAM III. [1696 

i. e. Penance and Absolution. The Patient was to eat nothing after Supper for three 
Nights : As soon as he went to Bed, he was carefully to lye on one Side, and when 
he grew weary, to turn on the other : He must also duly confine his two Eyes to the 
same Object ; and by no means break Wind without manifest Occa- 
sion. These Prescriptions diligently observed, the Worms would void insensibly 
by perspiration, ascending thro' the Brain.'" 

The third invention was that of a " Whispering Office," i. e. auricular confession ; 
the fourth, an Insurance Office, i. e. office for the sale of Indulgences ; the fifth 
device was an "universal pickle," i. e. holy water; the sixth, "a set of Bulls with 
leaden feet, i. e. Papal Bulls ; lastly, Peter devised Pardons, as to which the text is 
as follows : 

" I must needs mention one more of Lord Peter's Projects, which was very 
extraordinary, and discovered him to be Master of a high Reach, and profound 
Invention. Whenever it happened that any Rogue of Newgate was condemned 
to be hang'd, Peter would offer him a Pardon for a certain Sum of Money, which 
when the poor Caitiff had made all Shifts to scrape up and send; His Lordship 
would return a l Piece of Paper in this Form. 

" To all Mayors, Sheriffs, Jaylors, Constables, Bayliffs, Hangmen, &c. Whereas 
we are informed that A. B. remains in the Hands of you, or any of you, under the 
sentence of Death. We will and command you upon sight hereof, to let the said 
Prisoner depart to his own Habitation, whether he stands condemned for Murder, 
Sodomy, Rape, Sacrilege, Incest, Treason, Blasphemy, &c. for which this shall be 
yo\ir sufficient Warrant : And if you fail hereof, G d mn you and yours to all 
Eternity, and so we bid you heartily farewell. Your most Humble Man's Man, 

" Emperor Peter. 

" The Wretches trusting to tin's, lost their Lives and Money also." 

Peter's brains were now turned : " And therefore it need not be wondred, if by 
this Time, Lord Peter was become exceeding Rich. But alas, he had kept his 
Brain so long, and so violently upon the Rack, that at last it shook it self, and began 
to turn round for a little Ease. In short what with Pride, Projects, and Knavery, 
poor Peter was grown distracted, and conceived the strangest Imaginations in the 
World. In the Height of his Fits (as it is usual with those who run mad out of 
Pride) He would call himself 2 God Almighty, and sometimes Monarch of the 
Universe. I have seen him (says my Author) take Threeold 3 High-crown' d Hats, 
and clap them all on his Head, Tliree Stories high, with a huge Bunch of 4 Keys at 
his Girdle, and an Angling Rod in his Hand. In which Guise, whoever went to 
take him by the Hand in the way of Salutation, Peter with much Grace like a well 
educated Spaniel, would present him with his Foot, 5 and if they refused his Civility, 
then he would raise it as high as their Chops, and give them a damn'd Kick on the 
Mouth, which hath ever since been call'd Salute. Whoever walk'd by, without 
paying him their Compliments, having a wonderful strong breath, he would blow 



1 " This is a copy of a General Pardon sign'd ' Servus Servorum.' " 

2 " The Pope is not only allow'd to be the Vicar of Christ, but by several 
Divines is call'd God upon Earth, and other blasphemous titles." 

3 " The Triple Crown." 

4 " The Keys of the Church." 

Ibid. " The Pope's Universal Monarchy, and his Triple Crown, and Fisher's 



5 " Neither does his arrogant way of requiring men to kiss his slipper escape 
reflection.* AV. Wotton." 



* See " An Illustration to ' A Tale of a Tub,' ' Lord Peter presenting his 
'" 1696, No. 1324. 



1696] WILLIAM III. 61 

their Hats off into the Dirt. Meantime, his affairs at home went upside down ; 
and his two Brothers had a wretched Time ; where his first 1 Bontade was to 
kick both their 2 Wives one morning out of Doors, and his own too, and in their 
stead, gave Orders to pick up the first Three Strolers could be met with in the 
Streets." 

The next extravagance of " the Lord Peters " was to give his brothers bread 
for mutton and for wine, i. e. a satire on the Roman Catholic doctrine of Transub- 
stantiation ; the practice of telling monstrous falsehoods followed, of a cow's milk 
that would fill three thousand churches, of the cross of Our Lord, of a house that 
travelled two thousand leagues, i. e. the chapel of " Our Lady of Loretto," which 
travelled so far, from Syria to Italy. 

" In short Peter grew so scandalous, that all the Neighboui-hood began in plain 
Words to say, he was no better than a Knave. And his two Brothers long weary 
of his ill Usage, resolved at last to leave him ; but first, they humbly desired a 
Copy of their Father's Will, which had now lain by neglected. Instead of 
granting this Request, he called them damrfd Sons of Whores, Rogues, Traytors, 
and the rest of the vile Names he could muster up. However, while he was 
abroad one Day upon his Projects, the two Youngsters watcht their Opportunity, 
made a Shift to come at the Will and took a Copia vera? by Avhich they presently 
saw how grosly they had been abused. Their Father having left them equal 
Heirs, and strictly commanded, that whatever they got, should lie in common 
among them all. Pursuant to which, their next Enterprise was to break open the 
Cellar-Door, and get a little good 4 Drink to spirit and comfort their hearts. In 
copying the Will, they had met another Precept against Whoring, Divorce, and 
separate Maintenance : Upon which their next 5 Work was to discard their Con- 
cubines, and send for their Wives. Whilst all this was in Agitation, there enters 
a Sollicitor from Newgate, desiring Lord Peter would please to procure a Pardon 
for a Thief that was to be hanged to morrow. But the Two Brothers told him, 
he was a Coxcomb to seek Pardons from a Fellow, who deserv'd to be hang'd 
much better than his Client ; and discovered all the Method of that Imposture, in 
the same Form I delivered it awhile ago, advising the Sollicitor to put his Friend 
upon obtaining 6 a Pardon from the King. In the midst of all this Clutter and 
Revolution, in comes Peter with a File of 7 Dragoons at his Heels, and gathering 
from all Hands what was in the Wind, He and his Gang, and several Millions of 
Scurrilities and Curses, not very important here to repeat, by main Force, very 
fairly 8 kicks them both out of Doors, and would never let them come under his 
Roof from that Day to this." 

2 1 x 4j- in- Brit. Mus. Library, 1079. h. 6. 



1 " This word properly signifies a sudden jerk, or lash of a horse when you do 
not expect it." 

2 " The Celibacy of the Romish Clergy is struck at in Peter's beating his own 
and brother's wives out of doors. W. Wotton." 

3 " Translated the Scriptures into the vulgar Tongue." 

4 " Administered the Cup to the Laity at the Communion." 

5 " Allowed the Marriages of Priests." 

c " Directed Penitents not to trust to Pardons and Absolutions procur'd for 
Money, but sent them to implore the Mercy of God, from whence alone Remission 
is to be obtain'd." 

7 " By Peter's Dragoons is meant the Civil Power which those Princes, who 
were bigoted to the Romish Superstition, employ'd against the Reformers." 

8 " The Pope shuts all who dissent from him out of the Church." 



62 WILLIAM III [1696 



1302. 

AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Kdition, 
1724." 

The brothers Martin (Martin Luther) and Jack (John 
Calvin) reforming themselves, according to their Father's 
Will. (No. I.) 
P. 97. [1696] 

THIS engraving represents the interior of a room, where Martin and Jack, brothers 
of the Lord Peter, are engaged in executing their intended reformations, i.e. 
reformations of the Church. " Martin " was Martin Luther, " Jack " was John 
Calvin. The latter appears in the act of violently tearing gold lace, Romish 
ecclesiastical decorations, from his clothes, his wig lies on the floor ; the former 
does so more deliberately. 

This print was used again for the edition of " A Tale of a Tub," which 
appeared in 1727 (12330. bb.). 

The print faces p. 97, in the book named in the title. 

After the expulsion of the reforming brethren from their patrimony, the 
Church, by the Lord Peter, as described in " An Illustration to ' A Tale of a 
Tub,'" " Peter kicking his Brethren out of Doors." (No. 1.) 1696. No. 1301. 

" The two Exiles so nearly united in Fortune and Interest, took a Lodging 
together ; where, at their first Leisure, they began to reflect on the numberless 
Misfortunes and Vexations of their Life past, and could not tell, on the sudden, to 
what Failure in their Conduct they ought to impute them : When, after some 
Recollection, they called to Mind the Copy of their Father's Will, which they had 
so happily recovered. This was immediately produced, and a firm Resolution 
taken between them, to alter what was already amiss, and reduce all their future 
Measures to the strictest Obedience prescribed therein. The main Body of the 
Will (as the Reader cannot easily have forgot), consisted in certain admirable 
Rules about the wearing of their Coats ; in the Perusal whereof, the Two Brothers 
at every Period duly comparing the Doctrine with the Practice, there was never 
seen a wider Difference between two Things : horrible down-right Transgressions 
of every Point. Upon which, they both resolved without further Delay, to fall 
immediately upon reducing the Whole, exactly after their Father's Model. 

" But, here it is good to stop the hasty Reader, ever impatient to see the End 
of an Adventure, before We Writers can duly prepare him for it. I am to record, 
that these Two Brothers began to be distinguished at this Time, by certain 
Names. One of them desired to be called MARTIN, 1 and the other took the 
Appellation of JACK.. 2 These Two had lived in much Friendship and Agreement 
under the Tyranny of their Brother Peter, as it is the Talent of Fellow -Sufferers 
to do ; Men in Misfortune, being like Men in the Dark, to whom all Colours are 
the same : But when they came forward into the World, and began to display 
themselves to each other, and to the Light, their Complexions appeared extremely 
different ; which the present Posture of their Affairs gave them sudden Opportunity 
to discover. 

" But, here the severe Reader may justly tax me as a Writer of short 
Memory, a Deficiency to which a true Modern cannot but of Necessity be a little 
subject : Because Memory being an Employment of the Mind upon things past, is 

1 " Martin Luther." 2 John Calvin." 



1696] WILLIAM III. 63 

a Faculty, for which the Learned, in our Illustrious Age, have no manner of 
Occasion, who deal entirely with Invention, and strike all Things out of them- 
selves, or at least, by Collision, from each other : Upon which Account we think it 
highly Reasonable to produce our great Forgetfulness, as an Argument unanswer- 
able for our great Wit. I ought in Method, to have informed the Reader about 
Fifty Pages ago, of a Fancy Lord Peter took, and infused into his Brothers, to 
wear on their Coats whatever Trimmings came up in Fashion ; never pulling off 
any, as they went out of the Mode, but keeping on all together; which amounted 
in Time to a Medley, the most Antick you can possibly conceive ; and this to a 
Degree, that upon the Time of their falling out, there was hardly a Thread of the 
Original Coat to be seen, but an infinite Quantity of Lace, and Ribbons, and 
Fringe, and Embroidery, and Points ; (I mean only those tagged with silver, 1 for 
the rest fell off). Now, this material Circumstance, having been forgot in due 
Place, as good Fortune hath ordered, comes in very properly here, when the Two 
Brothers are just going to reform their Vestures into the Primitive State, prescribed 
by their Father's Will. They both unanimously entred upon this great Work, 
looking sometimes on their Coats, and sometimes on the Will. Martin laid the 
first Hand ; at one Twitch brought off a large Handful of Points, and with a 
second Pull, stript away Ten Dozen Yards of Fringe. But when he had gone 
thus far, he demurred a while : He knew very well there yet remained a great 
deal more to be done ; however, the first Heat being over, his Violence began to 
cool, and he resolved to proceed more moderately in the rest of the Work ; having 
already very narrowly scap'd a swinging Rent in pulling off the Points, which 
being taggd with Silver (as we have observed before), the judicious Workman had 
with much Sagacity, double sown, to preserve them from falling. Resolving 
therefore, to rid his Coat of a huge Quantity of Gold Lace, he pickt up the 
Stitches with much Caution, and diligently gleaned out all the loose Threads as he 
went, which proved to be a Work of Time. Then he fell about the Embroidered 
Indian Figures of Men, Women, and Children ; against which as you have heard 
in its due Place, their Father's Testament was extreamly exact and severe : These, 
with much Dexterity and Application, were after a while, quite eradicated, or 
utterly defaced. For the rest, where he observed the Embroidery to be workt so 
close, as not to be got away without damaging the Cloth, or where it served to 
hide or strengthen any Flaw in the Body of the Coat, contracted by the perpetual 
Tampering of Workmen upon it ; he concluded the wisest Course was to let it 
remain, resolving in no Case whatsoever, that the Substance of the Stuff should 
suffer Injury ; which he thought the best Method for serving the true Intent and 
Meaning of his Father's Will, And this is the nearest Account I have been able 
to collect, of Martin's Proceedings upon this great Revolution. 

" But his Brother Jack, whose Adventures will be so extraordinary, as to fur- 
nish a great Part in the Remainder of this Discourse ; entred upon the Matter 
with other Thoughts, and a quite different Spirit. For, the Memory of Lord 
Peter's Injuries, produced a Degree of Hatred and Spight, which had a much 
greater Share of inciting Him, than any Regards after his Father's Commands, 
since these appeared at best, only Secondary and Subservient to the other. How- 
ever, for this Medly of Humour, he made a Shift to find a very plausible Name, 
honouring it with the Title of Zeal; which is, perhaps, the most significant Word 
that hath been ever yet produced in any Language : As, I think, I have fully 
proved in my excellent Analytical Discourse upon that Subject; wherein I have 
deduced a Histori-theophy si-logical Account of Zeal, showing how it first proceeded 
from a Notion into a Word, and from thence in a hot Summer, ripened into a tan- 



1 "Points tagg'd with Silver, are those Doctrines that promote the Greatness 
and Wealth of the Church, which have been therefore woven deepest in the Body 
of Popery." 



64 WILL JAM III. [1696 

fjible Substance. This Work, containing Three large Volumes in Folio, I design 
V*TV shortly t<> publish by the Modern way of Subscriptioji, not doubting but the 
Nobility and Gentry of the Land will give me all possible Encouragement, haying 
already had such a Taste of what I am able to perform. 

" I record therefore, that Brother Jack, brimful of this miraculous Compound, 
reflecting with Indignation upon PETER'S Tyranny, and farther provoked by the 
Di-pondency of Martin; prefaced his Resolutions to this Purpose. What, said he, 
a Rogue that locltd up his Drink, turned away our Wives, cheated us of our For- 
t ii iii-s; pawned his dam/i'd Crusts upon us for Mutton; and at last kickt us out 

of Doors; A Rascal, besides, that all the Street cries 

out against. Having thus kindled and enflamed himself as high as possible, 
and by Consequence, in a delicate Temper for beginning a Reformation, he 
set about the Work immediatly, and in Three Minutes, made more Dispatch than 
Martin had done in as many Hours. For, (Courteous Reader) you are given to 
understand, that Zeal is never so highly obliged, as when you set it a Tearing .- 
And Jack, who doated on that Quality in himself, allowed it at this Time its full 
Swinge. Thus it happened, that stripping down a Parcel of Gold Lace, a little too 
hastily, he rent the main Body of his Coat from Top to Bottom ; and whereas his 
Talent was not of the happiest in taking up a Stitch, he knew no better way, than 
to dearn it again with Packthread and a Skewer. But the Matter was yet infinitely 
worse (I record it with Tears) when he proceeded to the Embroidery : For, being 
Clumsy by Nature, and of Temper impatient ; withal, beholding Millions of Stitches, 
that required the nicest Hand, and sedatest Constitution, to extricate ; in a great 
Rage, he tore off the whole Piece, Cloth and all, and flung it into the Kennel, and 
furiously thus continuing his Career ; Ah, Good Brother Martin, said he, do as I 
do, for the Love of God; Strip, Tear, Pull, Rent, Flay off all, that we may appear 
as unlike the Rogue Peter, as it is possible: I would not for a Hundred Pounds 
carry the least Mark about me, that might give Occasion to the Neighbours, of sus- 
pecting I was related to such a Rascal. But Martin, who at this Time happened 
to be extremely flegmatick and sedate, begged his Brother of all Love not to damage 
his Coat by any Means ; for he never would get such another : Desired him to con- 
sider, that it was not their Business to form their Actions by any Reflection upon 
Peter, but by observing the Rules prescribed in their Father's Will. That he should 
remember, Peter was still their Brother, whatever Faults or Injuries he had com- 
mitted; and therefore they should by all means avoid such a Thought, as that oj 
taking Measures for Good and Evil, from no other Rule, than of Opposition to him. 
That it was true, the Testament of their good Father was very exact in what related 
to the wearing of their Coats ; yet was it no less penal and strict in prescribing 
Agreement, and Friendship, and Affection between them. And therefore, if straining 
a Point were at all indispensable, it would certainly be so, rather to the Advance of 
Unity, than Increase of Contradiction." 1 

2j x 4 in. Brit. Mus. Library, 1079. h. 6. 



I303- 

AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Edition, 



Jack (Calvin) in the Madhouse. (No. I.) 
P- 123. [1696] 

Tin- engraving represents a corridor in a madhouse. Jack (Calvin) lies on straw 
in front and on the floor; other Imwtics, including two children. ;ire in the dis- 
tance, likewise a keeper. Imprisoned madmen appear at gratings in the side 



1696] WILLIAM III. 65 

walls of the corridor on our left. The same print was used for the edition of " A 
Tale of a Tub," which appeared in 1727 (12330. bb.). 

This print faces page 1 23 in the book which is named in the title. 

Continued from "An Illustration to 'A Tale of a Tub,' " " The brothers, Martin 
and Jack reforming themselves," &c., (No. 1.), 1696, No. 1302. 

Failing in an effort to induce his brother Martin to act as passionately as him- 
self, " what was left for the forlorn Jack to do, but after a Million of Scurrilities 
against his Brother, to run mad with Spleen and Spight, and Contradiction. To be 
short, there was a Mortal Breach between these two. Jack went immediately to 
New Lodgings, and in a few Days it was for certain reported, that he had run out 
of his Wits. In short time after, he appeared abroad, and confirmed the Report, 
by falling into the oddest Whimsies that ever a sick Brain conceived. And now 
the little Boys in the Streets began to salute him with several Names. Sometimes 
they would call Him Jack the Bald; } sometimes Jack with a Lanthorn;* some- 
times, Dutch Jack;* sometimes French Hugh ; 4 sometimes, Tom the Beggar; 5 and 
sometimes, Knocking Jack of the North. 6 And it was under one or some, or all of 
these Appellations (which I leave the Learned Reader to determine) that he hath 
given Rise to the most Illustrious and Epidemick Sect of ^Eolists, who with honour- 
able Commemoration, do still acknowledge the Renowned JACK for their Author 
and Founder. Of whose Original, as well as Principles, I am now advancing to 
gratify the World with a very particular Account. 

Mellceo contingens cuncta Lepore" 

The text continues with an account of the JEolists; 7 how they held wind, 
spirit, to be the origin of all things, and to be a great part of their composition. 
Of the fourth and fifth animas, or winds, attributed by them to man, it is stated : 

" For we must here observe, that all Learning was esteemed among them to 
be compounded from the same Principle. Because, First, it is generally affirmed, 
or confess'd that Learning puffeih Men up ; And Secondly, they proved it by the 
following Syllogism ; Words are but Wind : and Learning is nothing but Words ; 
Ergo, Learning is nothing but Wind. For this Reason, the Philosophers among 
them, did in their Schools, deliver to their Pupils, all their Doctrines and Opinions 
by Eructation wherein they had acquired a wonderful Eloquence, and of incredible 
Variety. But the great Characteristick, by which their chief Sages were best dis- 
tinguished, was a certain Position of Countenance, which gave undoubted Intelli- 
gence to what Degree or Proportion, the Spirit agitated the inward mass." 

They used barrels for pulpits ; this satirizes the Puritans, or " Enthusiasts," of 
the text. Female officers were used for inspiration, i. e. inflation ; this refers to 
the practice of the Society of Friends, or Quakers, in permitting women to preach. 
The notion opposite to that of a deity is said to be fittest to form a devil. Two 
devils were dreaded by the .ZEolists, " The first of these was the Camelion* 
sworn Foe to Inspiration, who, in Scorn, devoured large Influences of their God ; 
without refunding the smallest Blast by Eructation. The other was a huge terrible 
Monster, called Moulinavcnt, 9 who, with four strong Arms, waged eternal Battel 
with all their Divinities, dextrously turning up to avoid all their Blows and repay 
them with Interest." 

2| x 4f in. Brit. Mus. Library, 1079. h. 6. 



1 " That is Calvin, from Calvus, Bald." 

2 " All those who pretend to Inward Light." 

3 " Jack of Leyden, who gave rise to the Anabaptists." 4 " The Huguenots. 

5 " The Guenues, by which name some Protestants in Flanders were called." 

6 " John Knox, the Reformer, of Scotland." 7 " Pretenders to Inspiration. 
8 " Latitudinarians." 9 " Infidels." 



II. 



66 WILLIAM III. [1696 



1304. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Sixth Edition, 
1724." 

Jack (Calvin) riding in State. (No. I.) 

P. 178. [1696] 

THIS engraving represents "Jack," (Calvin), "riding on a great Horse," and 
eating a custard ; he is preceded on foot by an officer, answering to the Marshal 
of the City of London, with a Cap of Maintenance on his head, clad in state robes, 
and having a naked sword. Two gentlemen follow the rider, a third salutes him 
by taking off his cap as he stands at the door of a house in the background. This 
print was used again for the edition of " A Tale of a Tub," which appeared in 
1727(12330. bb.)- 

The print faces p. 178 in the book named in the title. 

Jack having become a professed " JEolist," as described in " An Illustration 
to 'A Tale of a Tub,' Jack in the Madhouse," (No. l.), 1696, No. 1303, the 
sequel of his adventures is given in the text ; his superstitious veneration for the 
Holy Scriptures, and the uses he made of them are described. Also his zeal and 
blind submission ; his discourse on predestination is quoted. Likewise his knavish 
pretences to extraordinary sanctity ; thus : 

" 1 When he had some Roguish Trick to play, he would down with his Knees, 
up with his Eyes, and fall to Prayers, tho' hi the midst of the Kennel. Then it 
was that those who understood his Pranks, would be sure to get far enough out of 
his Way. 

" 2 In Winter he went always loose and unbuttoned, and clad as thin as possible, 
to let in the ambient Heat ; and in Summer, lapt himself close and thick to keep it 
out. 

" 3 In all Revolutions of Government, he would make his Court for the Office of 
Hangman General ; and in the Exercise of that Dignity, wherein he was very 
dextrous, would make Use of 4 no other Vizard than a long Prayer. 

" He had a Tongue so Musculous and Subtil, that he could twist it up into his 
Nose, and deliver a strange Kind of Speech from thence. He was also the first hi 
these Kingdoms, who began to improve the Spanish Accomplishment of Braying ; 
and having large Ears, perpetually exposed and erected, he carried his Art to such 
a Perfection, that it was a Point of great Difficulty to distinguish either by the 
View or the Sound, between the Original and the Copy. 

" He was troubled with a Disease, reverse to that called the Stinging of the 
Tarantula; and would 5 run Dod-mad at the Noise of Mustek, especially a Pair of 
Bagpipes. But he would cure himself again, by taking two or three Turns in 
Westminster- Hall, or Billingsgate, or in a Boarding- School, or the Royal Exchange, 
or a State Coffee- House. 



1 " The Villanies and Cruelties committed by Enthusiasts and Fanaticks among 
us, were all performed under the Disguise of Religion and long Prayers." 

2 " They affect Differences in Habit and Behaviour." 

3 " They are severe Persecutors, and all in a Form of Cant and Devotion." 

4 " Cromwell and his Confederates went, as they called it, to seek God, when 
they resolved to murder the King. 

5 "This is to expose our Dissenters Aversion to Instrumental Musick in 
Churches. W. Wotton." 



1696] WILLIAM IIL 67 

"He was a Person that l feared no Colours, but mortally hated all, and upon 
that Account, bore a cruel Aversion to Painters, insomuch, that in his Paroxysms, 
as he walked the Streets, he would have his Pockets loaden with Stones, to pelt at 
the Signs. 

" Having from this manner of Living, frequent Occasion to wash himself, he 
would often leap over Head and Ears into the Water, tho' it were in the midst of 
the Winter, but was always observed to come out again much dirtier, if possible, than 
he went in. 

" He was the first that ever found out the Secret of contriving a 2 Soporiferous 
Medicine to be convey'd in at the Ears ; it was a Compound of Sulphur and Balm 
of Gilead, with a little Pilgrim's Salve" 3 

The text continues with an account of the progress of the disunion of Jack 
and Martin, and the good fortune of the former, especially in regard to the 
extension of his ears. 

" Such was the Progress of the Saints, for advancing the Size of that Member ; 
and it is thought, the Success would have been every way answerable, if in 
Process of Time, a 4 cruel King had not arose, who raised a bloody Persecution 
against all Ears, above a certain Standard : Upon which, some were glad to hide 
their flourishing Sprouts in a black Border, others crept wholly under a Periwig. 
Some were slit, others cropt, and a great Number sliced off to the Stumps. But 
of this, more hereafter, in my general History of Ears, which I design very 
speedily to bestow upon the Publick. 

" From this brief Survey of the falling state of Ears in the last Age, and the 
small Care had to advance their ancient Growth in the present, it is manifest, how 
little Reason we can have to rely upon a Hold so short, so weak, and so slippery : 
and that, whoever desires to catch Mankind fast, must have Recourse to some 
other Methods. Now he that will examine Human Nature with Circumspection 
enough, may discover several Handles, whereof the* Six Senses 
afford one apiece, beside a great Number that are screw'd to the * including 
Passions, and some few rivetted to the Intellect. Among these last, Scaliger's. 
Curiosity is one, and of all others, affords the firmest Grasp : 
Curiosity, that Spur in the Side, that Bridle in the Mouth, that Ring in the Nose, 
of a lazy, an impatient, and a grunting Reader. By this Handle it is, that an 
Author should seize upon his Reader ; which as soon as he hath once compast, all 
Resistance and struggling are in vain ; and they become his Prisoners as close as 
he pleases, 'til Weariness or Dullness force him to let go his Gripe. 

" And therefore, I the Author of this miraculous Treatise, have hitherto, beyond 
Expectation, maintained by the aforesaid Handle, a firm Hold upon my gentle 
Readers ; It is with great Reluctance, that I am at length compelled to remit my 
Grasp ; leaving them in the Perusal of what remains, to their natural Oscitancy 
inherent in the Tribe. I can only assure thee, Courteous Reader, for both our 
Comforts, that my Concern is altogether equal to thine, for my Unhappiness in 
losing, or mislaying among my Papers the remaining Part of these Memoirs ; which 
consisted of Accidents, Turns, and Adventures, both New, Agreable, and Sur- 
prizing ; and therefore, calculated in all due Points, to the delicate Taste of this 

1 " They quarrel at the most Innocent Decency and Ornament, and defaced the 
Statues and Paintings on all the Churches in England." 

2 " Fanatick Preaching, composed either of Hell and Damnation, or a fulsome 
Description of the Joys of Heaven, both in such a dirty, nauseous Style, as to be 
well resembled to Pilgrims Sale." 

3 This part of the text is continued, in abstract, under " An Illustration to 
'A Tale of a Tub,' &c., London, 1811, 'Jack Courting Persecution,'" 1696, 
No. 1325. 

4 " This was King Charles the Second, who at his Restoration turned out all 
the Dissenting teachers that would not conform." 



63 WILLIAM III. [1696 

our noble age. But, alas, with my utmost Endeavours, I have been able only to 
retain a few of the Heads. Under which, there was a full Account, how Peter got 
a Protection out of the King's Bench; and of a 1 Reconcilement between Jack and 
Him, upon a Design they had in a certain rainy Night, to trepan Brother Martin 
into a Spunging- House, and there strip him to the Skin. How Martin, with 
much ado, shew'd them both a fair pair of Heels. How a new Warrant came out 
against Peter : Upon which, how Jack Jeft him in the Lurch, stole his Protection, 
and made use of it himself. How Jack's Tatters came into Fashion in Court and 
City; How he got upon a great Horse, and eat 9 Custard. But the Particulars of 
all these, with several others, which have now slid out of my Memory, are lost, 
beyond all Hopes of Recovery. For which Misfortune, leaving my Readers to 
condole with each other, as far as they shall find it to agree with their several 
Constitutions ; but conjuring them by all the Friendship that hath passed between 
Us, from the Title-Page, to this, not to proceed so far as to injure their Healths, 
for an Accident past Remedy ; I now go on to the Ceremonial Part of an accom- 
plish'd Writer, and therefore, by a Courtly Modem, least of all others to be 
omitted." 

A note, p. 178, referring to the getting on " a great horse," &c., states that 
" Sir Humphry Edwyn, a Presbyterian, was some Years ago Lord Mayor of London, 
and had the Insolence to go in his Formalities to a Conventicle, with the Ensigns of 
his Office." Sir H. Edwyn was Lord Mayor of London in 1698, two years after 
the date of the writing of " A Tale of a Tub," and six years before its publication. 
The note is one of those included in the edition of " A Tale of a Tub," " Works 
of Jonathan Swift," 1766, with notes, &c., by John Hawkesworth (633. c. l.), 
p. 125. 

2 T * 44 "* En*- Mus. Library, 1079. h. 6. 



I SOS- 
FRONTISPIECE TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, MD CC XLI." 

The Whale swallowing the Tub. (No. 2.) 

To front the title. [1696] 

THIS engraving is a copy from that which is described as (No. l .), under the same 
title and date, No. 1298. 

It is inferior to and larger than the original ; the beak of the ship, or galley, 
which is shaped like the head of a javelin, is white in the copy, in the original it is 
shaded. 

Below the design, on our left, in MS., is " Throwing a Tub to the Whale. See 
Preface, p. xxxi." 

3x5^ in. Brit. Mus. Library, 1 2330. bb. 

1 " In the Reign of King James the Second, the Presbyterians, by the Knur's 
Invitation, joined with the Papists, against the Church of England, and Addrest him 
for Repeal of the Penal Laws and Test. The King by his Dispensing Power, gave 
Liberty of Conscience, which both Papists and Presbyterians made use of; but 
upon the Revolution, the Papists being down of Course, the Presbyterians freely 
continued their Assemblies, by Virtue of King James's Indulgence, before they had 
a Toleration by Law ; this I believe the Author means by Jack's stealing Peter's 
l'i election, and making use of it himself." 

3 " Custard is a famous Dish at a Lord Mayor's Feast." 



1696] WILLIAM III. 69 

1306. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, MDCCXLI." 

The Tub-Preacher and the Mountebank. (No. 2.) 

Plate 2. P. 30. [1696] 

THIS engraving is a copy from that which is described as (No. 1 .), under the same 
title and^date, No. 1299. 

It is inferior to and larger than the original. The sky, which is visible through 
the opening of the window in the background, is cross-hatched throughout in the 
copy, and to but a small extent in the original. 

" Plate 2, P. 50," is engraved below the design ; in MS. is " Audience at a 
Sermon." 

3i X 5i * Brit- Mus. Library, 1 2330. bb. 

; 



1307. 

.N ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, M DCC XLI." 

The Brothers, Lord Peter (the Pope), Martin (Martin 
Luther), and Jack (John Calvin), reading their Father's 
Will. (No. 2.) 

Plate 3. P. 66. [1696] 



THIS engraving is a copy from that which is described as (No. 1 .), under the same 
title and date, No. 1 300. 

It is inferior to and larger than the original. The skirt of the coat worn by 
the brother who stands on our right of the middle figure touches the edge of the 
engraved space in the copy ; in the original it is about one quarter of an inch re- 
moved within that margin. 

"Plate 3, P. 66," is engraved below the design; in MS. is "The 3 Sons 
reading the Will." 

3X5^ in. Brit. Mus, Library, 1 2330. bb. 

1308. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, MD.CCXLI." 

Lord Peter (the Pope) kicking his Brethren (Martin 
Luther and John Calvin) out of Doors. (No. 2.) 

Plate 4. P: 111. [1696] 

THIS engraving is a copy, reversed, from that which is described as (No. 1.), under 
the same title and date, No. 1301. 

It is inferior to and larger than the original. Thfc lunette, formed over the 



70 WILLIAM III. [1696 

doorway by the lintel and an arch, which is occupied by a satiric mask, contains 
likewise, in both prints, triangular panels ; the last are darker than the styles of 
the lunette in the original ; in the copy both styles and lunette are of ene tint ; both 
the hands of the brother who is running away appear in the former, such is not the 
case in the copy. 

"Plate 4, P. Ill," is engraved below the design; in MS. is " Lord Peter p: 
104." 

3 X 5i in. Brit. Mus. Library, 1 2330. bb. 



1309. 

AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, MD CC XLI." 

The Brothers, Martin (Martin Luther) and Jack (John 
Calvin) reforming themselves, according to their Father's 

Will. (No. 2.) 

Plate 6. P: 124. [1696] 

THIS engraving is a copy, reversed, from that which is described as (No. 1.), under 
the same title and date, No. 1302. 

It is inferior to and larger than the original. More than half the upright row 
of panes in the window near the margin of the print is represented in the original, 
not more than one fourth of the same re -appears in the copy. Calvin's left elbow is 
not shown in the latter, in the former his whole figure appears. 

"Plate 6, P. 1 24," is engraved at the upper corners of the design. 

3 X 5 in. Brit. Mus. Library, 1 2330. bb. 



1310. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, MD CC XLI." 

Jack (Calvin) in the Madhouse. (No. 2.) 

Plate 1. P: 16. [1696] 

THIS engraving is a copy from that which is described as (No. 1.), under the same 
title and date, No. 1303. 

It is inferior to and larger than the original. The chain in front, which confines 
the legs of Calvin to the edge of his pallet, is entirely in shadow in the original ; in 
the copy its links are white. Three beams appear across the ceiling of the corridor 
in the original, in the copy there are but two. 

"Plate 7, P. 16," (160) is engraved at the upper corners of the design; in 
MS. "Madmen" appears below it. 

3 X 5* in. Brit. Mus. Library, 12330. bb. 



1696] WILLIAM III. 71 



I3II. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. The Eighth Edition. 
Dublin, M D CC XLI." 

Jack (Calvin) riding in State. (No. 2.) 

Plate 5. P: 190. [1696] 

THIS engraving is a copy, reversed, from that which is described as (No. l), under 
the same title and date, No. 1304. 

It is inferior to and larger than the original. A large cloud appears to be 
edged with light in the sky of the copy, it is not so in the original. 

"Plate 5, P. 190," is engraved at the upper corners of the design. 

3 X 5^ in. Brit. Mus. Library, 1 2330. bb. 



F 



1312. 

FRONTISPIECE TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 
The Whale swallowing the Tub. (No. 3.) 

/. S. Muller inv : del. et Sc. [1696] 

THIS engraving represents a modern three-masted vessel sailing before the wind, 
with her fore-sail, fore-topsail, main-topsail, and mizen-topsail set ; a flag is flying at 
her bowsprit ; some of the crew are on the fore-castle hauling down the foresail. 
The whale, see the account of the incident in (No. l .), with the same title and date, 
No. 1 305, swims on the surface of the sea towards our right, opens its mouth, and 
is about to swallow the tub. 

" No. l . Tale of a Tub, facing the Title," is engraved above the design. 

This print was used again for the edition of " A Tale of a Tub," which appeared 
in 1766, "Works of Jonathan Swift," with notes, &c., by John Hawkesworth 
(633- c. 1.). 

3l X Sk - Brit. Mus. Library, 1 2330. ccc. 



AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 

The Tub-Preacher and the Mountebank. (No. 3.) 

/. S. Muller inv. del et Sc. [l 696] 

THIS engraving represents the preacher discoursing from his tub, which is placed 
in the middle of the design, and raised on a rude wooden pedestal above his 
audience ; his hat hangs on a nail behind the pulpit, he wears a cloak and neck 
bands. His audience, consisting of men, women, and children, is disposed in a 
circle before him ; some persons stand, some sit on chairs, others on steps. An 
execution by hanging is represented as if visible through a window-opening on our 



WILLIAM III. [1696 

left of the preacher ; a stage with a mountebank, his zany and servant, appear in a 
similar opening on our right. 

See the account of the incident which is given in (No. l .), with the same title 
and date, No. 1 306. 

" No. 2, p. 25," is engraved above the design. 

This print was used again for the edition of "A Tale of a Tub," which appeared 
in 1766, "Works of Jonathan Swift," with notes, &c., by John Hawkesworth 
(633. c. I.)- 

3? X 5| in. Brit. Mus. Library, 1 2330. ccc. 



AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MD CCLX." 

The Brothers, Lord Peter (the Pope), Martin (Martin 
Luther), and Jack (John Calvin), reading their Father's 
Will. (No. 3.) 

J. S. Miiller inv. del. et Sc. [1696] 

THIS engraving represents the tliree brothers in a chamber, with a window on our 
right, and a table, at the end of which sits " Lord Peter ; " " Jack " and " Martin " 
appear to be engaged in an argument. 

See an account of the incident which is given with (No. l .), with the same title 
and date, No. 1307. 

At the top of the design is " No. 3, p. 40." 

This print was used again for the edition of "A Tale of a Tub," which 
appeared in l 766, "Works of Jonathan Swift," with notes, &c., by John Hawkes- 
worth (633. c. l .). 

3 J X 5f Brit. Mus. Library, 1 2330. ccc. 



AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 

Lord Peter (the Pope) kicking his Brethren (Martin 
Luther and John Calvin) out of Doors. (No. 3.) 

L S. Miiller inv. del. et. Sc. [1696] 

THIS engraving represents Lord Peter, with three hats on his head, and grasping 
a staff in his right hand, expelling his brethren from their father's house ; botli the 
latter walk quickly to our left; the hat of one of them has fallen to tlie srolm( |. 
Soldiers are gathered at the doorway with muskets in their hands. Referring to 
the object of the satire, a church is represented in the background. 

See an account of the incident which is given with (No. 1.), with the same title 
and date, No. 1301. 

At the top of the design is " No. 4, p. 67." 

This print was again used for the edition of "A Tale of a Tub," which 
appeared in l 766, "Works of Jonathan Swift," with notes, &c., by John Ilawkea- 
worth (633. c. 1 .). 

There is an impression of this plate, reduced to 3$ x 5 in., in the Print 
Room. 

3| X 5| in. Brit. Mus. Library, 12330. ccc. 



1696] WILLIAM III. 73 



I3l6. 

AN ILLUSTRATION TO "A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 

The Brothers, Martin (Martin Luther) and Jack (John 
Calvin) reforming themselves, according to their Father's 
Will. (No. 3.) 

/. S. Mutter inv. del et Sc. [l 696] 

THIS engraving represents the interior of a handsome chamber, with the brothers ; 
the calm Martin sits in an attitude of meditation at a table, which is placed near 
the window, and looks on a book which lies there ; near his elbow is a brush. Jack, 
more irritable, stands and tears his dress ; his wig is already on the floor ; his 
ribbons, &c., are likewise there, or about to follow it. 

See an account of the incident which is given with (No. 1.), with the same title 
and date, No. 1302. 

At the top of the design is " No. 5, p. 76^" 

This print was used again for the edition of " A Tale of a Tub," which appeared 
in 1766, "Works of Jonathan Swift, with notes, &c." by John Hawkesworth 
(633- c. l.). 

3f x 5% in - - Brit - Mus - Library, 1 2330. ccc. 






AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 
Jack (Calvin) in the Madhouse. (No. 3.) 

I. S. Miiller inv. del: et Sc: [1696] 

THIS engraving represents the interior of a bare chamber, with three grated open- 
ings in its walls. Five lunatics are assembled, one of whom, Jack, has a pigtail, 
and, wearing nothing but a laced cocked hat and a baldric of rushes (?), casts the 
contents of an earthenware utensil in the face of a person who looks at him through 
the opening nearest the floor. Another of the lunatics, in ragged garments, recites 
from a manuscript which he holds; the third, wearing a crown, seems to ape a 
king ; the fourth, clad in a councillor's full wig and a ragged robe, grasps a scroll, 
and appears to be addressing an audience ; the fifth, a youth, seems to sit and 
meditate. 

See an account of the incident which is given with (No. l.), with the same title 
and date, No. 1303. 

At the top of the design is " No. 6 P : 1 04." 

This print was used again for the edition of " A Tale of a Tub," which 
appeared in 1766, "Works of Jonathan Swift," with notes, &c., by John Hawkes- 
worth (633.0. 1.). 

3l X 5| in. Brit. Mus. Library, 1 2330. ccc. 



74 WILLIAM III. [1696 

I 3 l8. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. MDCCLX." 
Jack (Calvin) riding in State. (No. 3.) 

I. S. Miiller inv. del. et Sc : [ 1 696] 

THIS engraving represents Fleet Street, London, with a view of St. Paul's Cathe- 
dral in the vista ; the spire of the church of St. Martin, Ludgate, as designed by 
Sir Christopher Wren, is partly interposed between us and the dome. Lud Gate is 
half-way up the street. Jack, in the act of saluting a crowd of persons by kissing 
his hand, and clad like a Lord Mayor of London, in a rube and gold chain, rides 
an ambling horse, and thus approaches us, preceded by the Marshal of the City 
of London, in his official dress, bearing the Sword of State upright in his hands. 
Other riders follow Jack ; several foot passengers look at the procession ; a carpet 
is hung from one of the windows. 

See an account of the incident which is given with (No. l .), with the same title 
and date, No. 1304. 

At the top of the design is " No. 7, P. 1 25." 

This print was used again for the edition of "A Tale of a Tub." which 
appeared in 1 766, " Works of Jonathan Swift," with notes, &c., by John 
Hawkesworth (633. c. 1.). 

3| X 5 in. Brit. Mus. Library, 12330. ccc. 



FRONTISPIECE TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. London, 1811." 
The Tub-Preacher. (No. 4.) 

Designed by Thurston. Etched by Rhodes. 

London, Pub. by Thomas Tegg, 1 1 1 [1696], Cheapside, July 1, 1810. [1696] 

THIS is an engraving in aqua-tint, and represents, by means of half-length figures, 
the incident which is described under (No. 1 .) with the same title and date, No. 1 299. 
The preacher is placed to his middle in a barrel, presses energetically his hands 
outspread upon his chest, and, stooping forward, with open mouth and eyes, 
addresses his audience of three women and two men ; two of the former turn up 
their faces and eyes towards the sky. 
At the top is "Frontispiece." 

4i * 2 i " Brit. Mus. Library, 1 2330. e. 



1320. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind ; London, l8ll." 
Dedication to Prince Posterity. 

[Designed by Thurston. Etched by Rhodes.] 

London, Pub. by Thomas Tegg, ill, Cheapside, July 1, l8lO. [1696] 

THIS Ls an engraving in aquatint, and represents Time, an old man, with one white 
lock of hair on his forehead, wearing ragged clothes, blue stockings, purple 






,696] WILLIAM III. 75 

breeches and a patched black coat. He sits and tears a book with his teeth, 
another book falls from his hands to the floor ; more books are piled behind on his 
seat ; clouds form a background. 

The text describes Time as the " governor," or tutor of the young Prince 
Posterity, to the latter the author dedicates his book by way of an appeal to the 
judgment of the future, thus : 

" For altho' your Highness is hardly got clear of infancy, yet has the universal 
learned world already resolved upon appealing to your future dictates with the 
lowest and most resigned submission ; fate having decreed you sole arbiter of the 
productions of human wit, in this polite and most accomplished age. Methinks, 
the number of appellants were enough to shock and startle any judge of a 
genius less unlimited than yours. But in order to prevent such glorious trials, the 
person, it seems, to whose care the education of your Highness is committed, has 
resolved (I am told) to keep you in almost an universal ignorance of our studies, 
which it is your inherent birthright to inspect. 

" It is amazing to me, that this person should have assurance in the face of the 
sun, to go about persuading your Highness, that our age is almost wholly illiterate, 
and has hardly produced one writer upon any subject. I know very well, that 
when your Highness shall come to riper years ; and have gone through the learning 
of antiquity, you will be too curious to neglect inquiring into the authors of 
the very age before you. And to tliink that this Insolent, in the account 
that he is preparing for your view, designs to reduce them to a number so 
insignificant as I am ashamed to mention ; it moves my zeal and my spleen for the 
honour and interest of our vast flourishing body, as well as of myself, for whom 
I know by long experience, he has professed, and still continues a peculiar 
malice. 

" It is not unlikely that when your Highness will one day peruse what I am 
now writing, you may be ready to exposttilate with your governor upon the credit 
of what I here affirm, and command him to shew you some of our productions. 
To which he will answer, (for I am well informed of his designs) by asking your 
Highness where they are ? and what is become of them ? and pretend it a demon- 
stration that there never were any, because they are not then to be found. Not 
to be found ! Who has mislaid them ? Are they sunk in the abyss of things ? 
It is certain, that in their own nature they were light enough to swim upon 
the surface for all eternity. Therefore the fault is in him, who tied weights 
so heavy to their heels, as to depress them to the center. Is then' very essence 
destroyed ? who has annihilated them ? were they drowned by purges, or mar- 
tyred by pipes ? who administered them ? But that it may no longer be a 
doubt with your Highness, who is to be the author of this universal ruin ; I be- 
seech you to observe that large and terrible scythe, which your governor affects 
to bear continually about him. Be pleased to remark the length and strength, the 
sharpness and hardness of his nails and teeth ; consider his baneful, abominable 
breath, enemy to life and matter, infectious and corrupting, and then reflect 
whether it be possible for any mortal ink or paper of this generation to make 
a suitable resistance. Oh ! that your Highness would one day resolve to disarm 
this usurping maitre du palais* of his furious engines, and bring your empire hors 
depage. 2 

" It were endless to recount the several methods of tyranny and destruction, 



1 " Comptroller. The kingdom of France had a race of kings, which they call 
les roys faineans, [from their doing nothing] who lived lazily in their apartments, 
while the kingdom was administered by the mayor de palais ; till Charles Martel, 
the last mayor, put his master to death, and took the kingdom into his own 
hand. Hawks." 

3 " Out of guardianship." 



76 WILLIAM III. [, 

which your governor is pleased to practise on this occasion. His invet 
malice is such to the writings of our age, that of several thousands prodw 
yearly from this renowned city, before the next revolution of the sun, there 
not one to be heard of : Unhappy infants, many of them barbarously destroye 
before they have so much as learned their mother tongue to beg for pity. 
he stifles in their cradles, others he frights into convulsions, whereof 
suddenly die : Some he flays alive, others he tears limb from limb. 
numbers are offered to Moloch, and the rest, tainted by his breath, die of 
languishing consumption. But the concern I have most at heart, is for our 
corporation of poets, from whom I am preparing a petition to your Highness, 
to be subscribed with the names of one hundred and thirty-six of the first 
rate, but whose immortal productions are never likely to reach your eyes, 
though each of them is now humble and an earnest appellant for the laurel, and 
has large comely volumes to shew for a support to his pretensions. The never- 
dying works of these illustrious persons, your governor, Sir, has devoted to un- 
avoidable death ; and your Highness is to be made believe, that our age has 
never arrived at the honour to produce one single poet. 

" We confess immortality to be a great and powerful goddess : but in vain we 
offer up to her our devotions and our sacrifices, if your Highness' s governor, who 
has usurped the priesthood, must, by an unparalleled ambition and avarice, wholly 
intercept and devour them." 

The satire is continued as described under " An Illustration to ' A Tale of a 
Tub/" &c. London, 1811, "Grub Street Authors Triumph over Time," same 
date, No. 1321. 

4 X 2f in. Brit. Mus. Library, 1 2330. e. 



1321. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. London, 1811." 
Grub Street Authors Triumph over Time. 

[Designed by Thurston. Etched by Rhodes.] 

London, Pub. by Thomas Tegg, 111 Cheapside, July 1, 1810. [1696] 

THIS is an engraving in aquatint, and represents Time by a huge person with a 
broken scythe and a pair of old shoes beside him, who has been cast on the floor, 
bound with ropes, and assailed by two ragged, apparently ill-fed old men, one of 
whom grasps his neckcloth, while the other appears to be about to extract his teeth. 
Two other old men sit in the background. It appears that these victors over Time 
were intended to represent John Dryden, Nahum Tate, Tom Durfey, "Mr. Rymer," 
John Dennis, Dr. Bentley (see "Frontispiece to ' A Full and True Account of the 
Battle Fought last Friday Between the Ancient and Modern Books in St. 
James's Library,'" (No. 1.), 1697, No. 1334,) and William Wotton, 1 biographer 
and critic. 

The text, continued from that part which is quoted under "An Illustration to 
'A Tale of a Tub,'" &c., London, 1811, "Dedication to Prince Posterity," 
1696, No. 1320, defends against Time, the tutor of the Prince, the learning and 
literature of the age, and declares that it was false to aver that the period was 
" devoid of writers of any kind." 

" It is true, indeed, that although their numbers be vast, and their productions 

1 See " An Illustration to " A Tale of a Tub," " A Town Critic hunting 
down Authors," 1696. No. 1323, and note. 



1696] WILLIAM III. 77 

numerous in proportion; yet are they hurried so hastily off the scene that they 
escape our memory, and elude our sight. When I first thought of this address, I 
had prepared a copious list of titles to present your Highness, as an undisputed 
argument for what I affirm. The originals were posted fresh upon all gates and 
corners of streets ; but, returning in a very few hours to take a review, they were 
all torn down, and fresh ones in their places. I enquired after them among readers 
and booksellers ; but I enquired in vain ; the memorial of them was lost among men, 
their place was no more to be found: and I was laughed to scorn for a clown and 
a pedant, without all taste and refinement, little versed in the course of present 
affairs, and that knew nothing of what had passed in the best companies of court 
and town. So that I can only avow in general to your Highness, that we do abound 
in learning and wit ; but to fix upon particulars is a task too slippery for my slender 
abilities. If I should venture in a windy day to affirm to your Highness, that tbere 
is a large cloud near the horizon, in the form of a bear ; another in the zenith, with 
the head of an ass ; a third to the westward, with claws like a dragon ; and your 
Highness should in a few minutes think fit to examine the truth ; it is certain they 
would all be changed in figure and position ; new ones would arise ; and ah 1 we 
could agree upon would be, that clouds there were, but that I was grossly mistaken 
in the zoography and topography of them. 

" But your governor, perhaps, may still insist and put the question. What is 
then become of those immense bales of paper, which must needs have been em- 
ployed in such numbers of books ? Can these also be wholly annihilate, and so of 
a sudden as I pretend? What shall I say in return of so invidious an objection ? 
it ill befits the distance between your Highness and me, to send you for ocular con- 
viction to a jakes, or an oven ; to the windows of a house, or a sordid lan- 

thorn. Books, like men their authors, have no more than one way of coming into 
the world, but there are ten thousand to go out of it, and return no more. 

" I profess to your Highness, in the integrity of my heart that what I am going 
to say is literally true this minute I am writing. What revolutions may happen 
before it shall be ready for your perusal, I can by no means warrant. However, I 
beg you to accept it as a specimen of our learning, our politeness, and our wit. I 
do therefore affirm, upon the Avord of a sincere man, that there is now actually in 
being, a certain poet called John Dryden, whose translation of Virgil was lately 
printed in a large folio, well bound, and if diligent search were made, for ought I 
know, is yet to be seen. There is another called Nahum Tate, who is ready to 
make oath that he has caused many reams of verse to be published, whereof both 
himself and his bookseller (if lawfully required) can still produce authentic copies, 
and therefore wonders why the world is pleased to make such a secret of it. There is a 
third, known by the name of Tom Durfey, a poet of a vast comprehension, and 
universal genius, and most profound learning. There are also one Mr. Rymer, and 
one Mr. Dennis, most profound critics. There is a person styled Dr. B tl y, 
who has written near a thousand pages of immense erudition, giving a full and true 
account of a certain squabble of wonderful importance between himself and a book- 
seller. 1 He is a writer of infinite wit and humour ; no man rallies with a better 
grace and in more sprightly turns. Farther I avow to your Highness, that with 
these eyes I have beheld the person of William W tt n, B.D., who has written 
a good sizeable volume against a friend of your governor 2 (from whom, alas! he 
must therefore look for little favour) in most gentlemanly stile, adorned with the 
utmost politeness and civility ; replete with discoveries, equally valuable for their 



1 " Bentley, in his controversy with Lord Orrery, upon the genuineness of 
Phalaris's Epistles, has given, in a preface, a long account of his dialogues with a 
bookseller, about the loan and restitution of a MS. Hawks." 

3 " Sir William Temple." See " Frontispiece to a Full and True Account of 
the Battle", &c. (No. 1.), 1697, N . 1334. 



7 8 WILLIAM III. [i 

novelty and use ; and embellished with traits of wit so poignant and so apposit 
that he is a worthy yokemate to his fore-mentioned friend." 

The " Mr. Ryiner" above mentioned was doubtless Thomas Rymer, compile 
of "Fcedera," &c., the first volume of which appeared in 1704,' the year 
the publication of " A Tale of a Tub ;" he also wrote " The Tragedies of the Is 
age considered and examined," 1678, and "A Short View of Tragedy of the 
Age," 1693. 

As to the special subject of this design the text states, in the "Introduction 
to "A Tale of a Tub," " Under the stage itinerant, are couched those pr 
tions designed for the pleasure and delight of mortal man ; such as, six-pennj 
worth of wit, Westminster drolleries, delightful tales, complete jesters, and the 
like; by whicli the writers of and for GRUB STREET, have in these latter ages 
so nobly triumphed over time ; have clipped his wings, pared his nails, filed his 
teeth, turned back his hour-glass, blunted his scithe, and drawn the hobnails 
out of his shoes. It is under this class I have presumed to list my present 
treatise, being just come from having the honour conferred upon me, to be 
adopted a member of that illustrious fraternity." 

4|r X 2 in. Brit. Mus. Library, 1 2330. e. 

1322. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. London, l8ll." 

The Brothers, Lord Peter (the Pope), Martin (Martin 
Luther), and Jack (John Calvin), reading their Father's 
Will. (No. 4.) 

Peter, John, and Martin examining the Will. 

[Designed by Thurston. Etched by Rhodes.] 

London, Pub. by Thomas Tegg, in, Cheapside, July i, 1810. [1696] 

THIS is an engraving in aquatint, and represents the subject by the figures of three 
youths, two of whom sit at a table, while the third stands up between them and 
points to the will of their father which lies before them. The third is the Lord 
Peter. There is no background to this design. 

See an account of the incident which is given with (No. l.), with the same title 
and date, No. 1 300. 

i.4t X 2j in. Brit. Mus. Library, 12330. e. 



AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. London, 1811." 
A Town Critic Hunting down Authors. 

[Designed by Thurston. Etched by Rhodes.] 

London, Pub. by Thomas Tegg, 111 ; Cheapside, July l, 1810. [1696] 

THIS is an engraving in aquatint ; a critic appears as an old man, who wears 
spectacles, a broad-brimmed hat, a blue neck tie, gaiters, breeches, and a black coat; 
he carries a huge knotted club in his right hand, and, under his left arm, a large 

1 See " Frontispiece to A Tale of a Tub,' " " The Whale swallowing the 
Tub". (No. 1.), 1696, No. 1298, and note. 



1696] WILLIAM III. 79 

clasped volume ; in his left hand is a flaming torch ; he eagerly pursues five meagre 
men, authors, in black coats, four of whom run away, the fifth has fallen in a like 
course and turns to the critic in great fear. 

The text of this edition of " A Digression concerning Criticks," part of " A 
Tale of a Tub," states, after giving an account of varieties of critics, p. 1O2, "The 
third and noblest sort is that of his TRUE CRITIC, whose original is the most ancient 
of all. Every true critic is a hero born, descended in a direct line from a celestial 
stem by Momus and Hybris, who begat Zoilus, who begat Tigelleus, who begat 
Etcetera the elder, who begat Bentley and Rymer, 1 and Wotton, 2 and Perrault, and 
Dennis, who begat Etcetera the younger." 

" And these are the critics from whom the common-wealth of learning has in 
all ages received such immense benefits, that the gratitude of their admirers placed 
their origin in heaven, among those of Hercules, Theseus, Perseus, and other 
great deservers of mankind. But heroic virtue itself hath not been exempt from 
the obloquy of evil tongues. For it hath been objected, that those ancient heroes, 
famous for their combating so many giants, and dragons, and robbers, were in 
their own persons a greater nuisance to mankind, than any of those monsters they 
subdued ; and therefore, to render their obligations more complete, when all other 
vermin were destroyed, should in conscience have concluded with the same justice 
upon themselves ; as Hercules most generously did ; and hath, upon that score, 
procured to himself more temples and votaries, than the best of his fellows. For 
these reasons, I suppose, it is, why some have conceived, it would be very expedient 
for the public good of learning, that every true critic, as soon as he had finished 
his task assigned, should immediately deliver himself up to ratsbane, or hemp, or 
from some convenient altitude; and that no man's pretensions to so illustrious a 
character, should by any means be received, before that operation were performed. 

" Now, from this heavenly descent of criticism, and the close analogy it bears 
to heroic virtue, it is easy to assign the proper employment of a true ancient 
genuine critic ; which is, to travel through this vast world of writings ; to pursue 
and hunt those monstrous faults bred within them ; to drag out the lurking 
errors, like Cacus from his den ; to multiply them like Hydra's heads ; and rake 
them together like Augeas's dung: or else drive away a sort of dangerous fowl, 
who have a perverse inclination to plunder the best branches of the tree of 
knowledge, like those Stymphalian birds that eat up the fruit. 

" These reasonings will furnish us with an adequate definition of a true 
critic ; that he is a discoverer and collector of writers faults ; which may be 
farther put beyond dispute, by the following demonstration : That whoever will 
examine the writings in all kinds, wherewith this antient sect has honoured the 
world, shall immediately find, from the whole thread and tenor of them, that the 
ideas of the authors have been altogether conversant and taken up with the 
faults, and blemishes, and oversights, and mistakes of other writers ; and, let the 
subject treated on be whatever it will, their imaginations are so entirely possessed, 
and replete with the defects of other pens, that the very quintessence of what is 
bad, does of necessity distill into their own ; by which means, the whole appears to 
be nothing else but an abstract of the criticisms they themselves have made." 

4i X 2|. in. Brit. Mus. Library, 1 2330. e. 

1 See " An Illustration to * A Tale of a Tub,' " &c., " Grub Street Authors 
Triumph over Time," 1 696, No. 1321. 

2 Wotton, William, D.D., had been engaged in the controversy between Swift's 
patron, Sir William Temple, and Perrault ; the third published his " Parallel," 
and the second "An Essay on Ancient and Modern Learning." Wotton issued 
" Reflections upon Ancient and Modern Learning," 1694. See " Frontispiece to 
1 A Full and True Account of the Battle Fought last Friday Between the Ancient 
and Modern Books in St. James's Library,'" &c., No. 1, 1697, No. 1334, which 
gives an account of this famous controversy. 



8o 



WILLIAM III. 



1324. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for th< 
Universal Improvement of Mankind. London, 1811." 
Lord Peter presenting his Foot. 

[Designed by Thurston. Etched by Rhodes.] 

London, Pub. by Thomas Tegg, 111, Cheapside July l , 1 8 1 0. [ 1 696] 

THIS is an engraving in aquatint, and represents the " Lord Peter" seated on 
raised platform, below a canopy and in a chair of state ; he wears three roui 
Mack hats, three keys at his girdle, a red coat and breeches, and white stockings; 
in his left hand is an angling rod ; he presents his right foot to be kissed by ai 
obsequious person, who kneels before him for the purpose, and is bareheaded. L 
the distance is an outline of St. Peter's, Rome. 

The text, after descanting 011 the various inventions and devices of Loi 
Peter for making money, see " An Illustration to ' A Tale of a Tub ' ", &c., 
Peter kicking his Brethren out of Doors," (No. 1.) 1696, No. 1301, descril 
his further proceedings in conformity with this design. 

4^ X 2i in. Brit. Mus. Library, 12330. 



1325. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for tl 
Universal Improvement of Mankind. London, 1811." 
Jack Courting Persecution. 



[Designed by Thurston. Etched by Rhodes.] 
London, Pub. by Thomas Tegg, ill, Cheapside, July 



1810. 



[1696] 



THIS is an engraving in aquatint, and represents a soldier kicking a Calvinist ; 
they stand in a public street, the former wears a cocked hat, Hessian boot 
white breeches, &c., the latter is dressed entirely in black, and has his hum 
crossed on his breast, he turns his eyes violently upwards, with an expressk 
of affected sanctimony. 

The text, p. 213 in this edition, avers that Brother Jack (Calvin), was tin 
affected; "the memory of Lord Peter's injuries" (See "An Illustration 
* ATale of a Tub,' " &c., " Lord Peter, kicking his Brethren out of Doors," (No. l .] 
1 696, No. 1301,) " produced a degree of hatred and spite, which had a much gr 
share of inciting him, than any regards after his father's commands ; since th< 
appeared at best only secondary and subservient to the other. However, for this 
medley of humour he made shift to find a very plausible name, honouring it wit 
the title of Zeal ; which is perhaps the most significant word that hath been eve 
yet produced in any language," &c. 

Jack, meditating on his wrongs, became more and more bitter in temper 
he lived, he divested his coat of all the finery (see " An Illustration to ' A Ta 
of a Tub,' " &c., " The Brothers Martin and Jack reforming themselves, according 
to their Father's Will," (No 1.), 1696, No. 1302), which, contrary to the will 
their father, the brothers had assumed, under the influence of the " Lord Peter." 

" lie bore a strange kind of appetite to snap-dragon, 1 and to the livid >iu 



1 " I cannot well find out the author's meaning here, unli-.-s it In.- the 
untimely, Miml /.-al of vntliu- 



1696] WILLIAM III. 8l 

of a burning candle; which he would catch and swallow with an agility 
wonderful to conceive ; and by this procedure, maintained a perpetual flame in 
his belly ; which issued in a glowing steam from both his eyes, as well as his 
nostrils, and his mouth, made his head appear, in a dark night, like the scull of 
an ass, wherein a roguish boy had conveyed a farthing candle, to the terror of 
his Majesty's liege subjects. Therefore he made use of no other expedient 
to light himself home ; but was wont to say, that a wise man was his own 
lantern. 

" He would shut his eyes as he walked along the street ; and if he happened 
to bounce his head against a post, or fall into the kennel, as he seldom missed 
either to do one or both, he would tell the gibing apprentices, who looked on, 
that he submitted, with entire resignation, as to a trip, or blow of fate, with 
vhom he found by long experience, how vain it was either to wrestle or to cuff; 
and whoever durst undertake to do either, would be sure to come off with a 
swingeing fall, or a bloody nose. It was ordained, said he, some few days before 
the creation, that my nose and this very post should have a rencounter ; and there- 
fore Nature thought fit to send us both into the world in the same age, and to make 
us countrymen and fellow-citizens. Now, had my eyes been open, it is very likely, 
the business might have been a great deal worse ; for how many a confounded 
slip is daily got by man, with all his foresight about him ? besides, the eyes of 
the understanding see best, ivhen those of the senses are out of the way ; and 
therefore blind men are observed to tread their steps with much more caution, 
and conduct, and judgment, than those who rely with too much confidence upon 
the virtue of the visual nerve, which every little accident shakes out of order, 
and a drop or film can wholly disconcert; like a lamp among a pack of roaring 
bullies, when they scower the streets; exposing its owner, and itself, to outward 
kicks and buffets, which both might have escaped, if the vanity of appearing would 
have suffered them to walk in the dark. But, farther, if we examine the conduct 
of these boasted lights, it will prove yet a great deal worse than their fortune : 
It is true, I have broken my nose against this post, because fortune either forgot, 
or did not think it convenient to twitch me by the elbow, and give me notice to 
avoid it. But let not this encourage either the present age or posterity to trust 
their noses into the keeping of their eyes, which may prove the fairest way of 
losing them for good and all. For, O ye eyes ! ye blind guides I miserable 
guardians are ye of our frail noses ; ye, I say, who fasten upon the first 
precipice in view, and then tow our ivretched willing bodies after you, to the very 
brink of destruction : but, alas ! that brink is rotten, our feet slip, and we tumble 
down prone into a gulph, without one hospitable shrub in the way to break the fall ; 
a fall to which not any nose of mortal make is equal, except that of the giant 1 Laur- 
calco, who was lord of the silver bridge. Most properly, therefore, O eyes ! and with 
great justice, may you be compared to those foolish lights which conduct men 
through dirt and darkness, till they fall into a deep pit, or a noisome bog. 

" This I have produced, as a scantling of Jack's great eloquence, and the force 
of his reasoning upon such abstruse matters. 

" He was, besides, a person of great design and improvement in affairs of devotion, 
having introduced a ' new deity, who hath since met with a vast number of 
worshippers ; by some called Babel, by others, Chaos; who had an ancient 
temple of Gothic structure upon Salisbury-plain, famous for its shrine, and 
celebration by pilgrims." 

The text continues with accounts of Jack's knavish pretences to extraordinary 
sanctity. Vide the first quotation in " An Illustration to ' A Tale of a Tub,' " &c., 
" Jack riding in State," (No. 1.), 1696, No. 1304. After this appears the further 
description: 



1 " Vide Don Quixote." 
II. G 



82 



WILLIAM III. 



[1696 



" He wore a large plaistcr of artificial caustics on his stomach, with the fervour 
of which he could set himself a groaning, like the famous board upon application of 
a red-hot iron. He would stand in the turning of a street ; and, calling to those 
who passed by, would cry to one, Worthy Sir, do me the honour of a good slap in 
the chaps; to another, Honest friend, pray favour me with a handsome hick on the 
a e. Madam, shall I intreat a small box on the ear from your ladyship's fair hand f 
Noble Captain, lend a reasonable thwack for the love of God, with that cane of your 's, 
over these poor shoulders.* And when he had by such earnest solicitations, made a 
shift to secure a basting sufficient to swell up his fancy and his sides, he would 
return home extremely comforted, and full of terrible accounts of what he had 
undergone for the public good. Observe this stroke, said he, shewing his bare 
shoulders, a plaguy janisary gave it to me this very morning at seven o'clock, as, with 
much ado, I was driving off the Great Turk. Neighbours, mind this broken head 
deserves aplaister. Had poor Jack been tender of his noddle, you would have seen 
the Pope and the French King, long before this time of day, among your wives and 
your warehouses. Dear Christians, the Great Mogul was come as far as White- 
chapel; and you may thank these poor sides, that he hath not (God bless us) already 
swallowed up man t woman, and child." 

4i X 2| in. Brit. Mus. Library, 12330. e. 



1326. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind ;" Volume I. of " The 
Select Works of Jonathan Swift, D. D. in five volumes, 
London, 1825." 

The Father addressing his Sons on his Death-bed. 



Singleton del 1 . Page 65. 
McLean 1823. 



Engleheart sculp*. London. 



Printed for Hector 
[16 9 6] 



THIS engraving represents the father who had called his sons together on his death- 
bed, and bade them obey the injunctions of his will, then delivered to them ; he 
gave to each a new coat, with commands as to the manner in which those coats 
should be worn and cared for. See An Illustration to " A Tale of a Tub," &c., 
" The Brothers, Lord Peter, Martin, and Jack, reading their Father's Will," (No. 
1.), 1696, No. 1300. 

The father, an old man, lies hi bed at the point of death, and addresses his sons, 
who, weeping, stand at the foot of the bed. 

Above the design is, " Tale of a Tub." 

2f X 2 in. Brit. Mus. Library, 12274. a. 



1327. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind;" Volume I. of " The 
Select Works of Jonathan Swift, D. D. in five volumes, 
London, 1825." 



1 " The Fanatics have always had a way of affecting to run into persecution, 
and count vast merit upon every little hardship they Buffer." 



1696] WILLIAM III. 83 

The Brothers, Lord Peter (the Pope), Martin (Martin 
Luther), and Jack (John Calvin), reading their Father's 
Will. (No. 5.) 

Engraved by D.Allen. Page 73. London; Printed for Hector McLean, 
1823. * [1696] 

THIS engraving represents the brothers at a table in a chamber ; the Lord Peter 
sits with his back towards us, his face in profile, and addresses his brethren, one of 
whom leans over his chair ; the other brother, leaning with his elbows on the table, 
reads the will, which lies there. 

For an account of the subject, see the same title and date (No. l.), No. 
1300. 

Below the design are " P. 73 " and " Tale of a Tub." 

2|- X 3 in. Brit. Mus. Library, 12274. a. 

1328. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind ;" Volume I. of." The 
Select Works of Jonathan Swift, D. D., in five volumes, 
London, 1825." 

Peter (the Pope) kicking his Brethren (Martin Luther 
and John Calvin) out of Doors. (No. 5.) 

Meadows pinxt. Page 109. Stewart sculpt. London. Printed for Hector 
McLean, 1823. [1696] 

THIS engraving represents the incident which is described with the same title 
and date, (No. 1.) No. 1301. "Jack" and "Martin" are rapidly descending 
the teps of a portico, while " Lord Peter," with his left foot raised, kicks one of 
them behind, and flourishes an episcopal crook about his head. In the distance is 
St. Peter's, Rome. 

Below the engraving are " P. 1 09," and " Tale of a Tub." 

2^ X 3 in. Brit. Mus. Library, 12274. a - 



1329. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind ;" Volume I. of " The 
Select Works of Jonathan Swift, D. D., in five volumes, 
London, 1825." 

The Brothers, Martin (Martin Luther), and Jack (John 
Calvin) reforming themselves, according to their Father's 
Will. (No. 4.) 

Meadows pinxt. Page 121. Smith sculpt. London ,* Printed for Hector 
McLean, 1823. [1696] 

THIS engraving represents the incident which is described under with the same 
title and date (No. 1.) No. 1302. Martin is seated in a chair, with his back to 
the window of a room, his left hand is on a table, and he is reading the will of hii 



84 WILLIAM III. [1696 

father. Jack stands and tears the lace from the front of his coat, which he has taken 
off for the purpose. 

Below the engraving are " Page 1 2 1 " and " Tale of a Tub." 

2 1 X 3 in. Brit. Mus. Library, 12274. 

I330- 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for th< 

Universal Improvement of Mankind. London 1867." 

The Tub-Preacher. (No. 5.) 

Frontispiece. [1696] 

A woodcut, copy from (No. 4.), with the same title and date; No. 1319. In 
lower corner on our left is " Frontispiece." 

4y X 2|- in. Brit. Mus. Library, 12330. 



AN ILLUSTRATION TO " A TALE OF A TUB, Written for tl 
Universal Improvement of Mankind. London, 1867." 

The Brothers, Lord Peter (the Pope,) Martin (Martii 
Luther), and Jack (John Calvin,) reading their Father'* 

Will. (No. 6.) 

[1696; 

A woodcut, representing the three brethren as described under the same tit 
and date (No. 1.); No. 1300. The three stand near a small table; one, "7 
Peter," holds the will, with pendant seals, in both hands ; another, Martin, smoot 
his chin with his right hand ; the third, Jack, leans both his hands on the table, 
earnestly speaks to the Lord Peter. A deed-chest is on the floor near the 
Peter's feet. 

2| X 3-j- in. Brit. Mus. Library, 1 2330. 



1332. 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for tl 
Universal Improvement of Mankind, London, 1867." 

One of the Brethren, Martin (Martin Luther) and Jac 
(John Calvin), recalling his Wife. 

D 

THIS woodcut represents how Jack and Martin, having fallen out with the 
elder brother, the Lord Peter, as described under " An Illustration to a Tt 
of a Tub," etc. "Lord Peter kicking his Brethren out of Doors," (Nc 
1.), 1696, No. 1301; "took a copia vera (of their father's will), by whk 
they presently saw how grossly they had been abused (by the Lord Peter) 
their father having left them equal heirs, and strictly commanded that, whateve 
they got, should be in common among them all. Pursuant to which, their m 
enterprise was to break open the cellar door, to get a little good drink to comfo 
and spirit their hearts. In copying the will they had met another precept agaii 
divorce and separate maintenance, and other evil practices of their brother Peter 



1697] WILLIAM III. 85 

upon which their next work was to discard their concubines and send for their 
wives." 

The design shows one of the brethren hastening forward to meet his wife, who 
advances to meet him. Spectators stand near. 

2-f. X 3 in. Brit. Mus. Library, 1 2330. aa. 



1333- 

AN ILLUSTRATION TO " A TALE OF A TUB, Written for the 
Universal Improvement of Mankind. London, 1867." 

The Brothers, Martin (Martin Luther) and Jack (John 
Calvin), reforming themselves, according to their Father's 
Will. (No 5.) 

[1696] 

THIS woodcut represents the incident described with the same title and date, 
(No. 1.), No. 1302. Both figures stand, and have taken off their coats; that 
of Jack, on our right, shows the bitter brother about to tear off the lace from his 
coat ; that of Martin shows him in the act of deprecating violent conduct. 

For the counter satire to " A Tale of a Tub," being a passionate attack on 
Dean Swift, by Thomas Burnet, son of the Bishop of Salisbury, see " On state 
opinions Alamode," 1714. 

2 i X 3i in. Brit. Mus. Library, 1 2330. aa. 



1334- 

FRONTISPIECE TO " A FULL AND TRUE ACCOUNT OF THE 
BATTLE FOUGHT LAST FRIDAY BETWEEN THE ANCIENT 
AND MODERN BOOKS IN ST. JAMES'S LIBRARY, LONDON. 
Printed in the Year MDCCXXXIV." (By Dean Swift). 
(No. i.) 

To face the title of the Battle. [1697] 

THIS engraving represents the interior of a library, many of the shelves of which 
are emptied of their contents ; some of the books appear as if flying from their 
places to join a battle which takes effect on the floor of the room between various 
foot soldiers and fully-armed knights. In the corner of this window is a large 
cobweb. The same print was used again for the edition of " A Full and True Ac- 
count," &c., which appeared in 1737 (12330. bb.). 

The following account of the origin of the famous satire by Dean Swift, in ques- 
tion, is thus given in the edition of " Swift's Works," edited by Sir Walter Scott, 
which was published in 1824, vol. x. p. 219. 

" The following jeu cT esprit, which appeared in the same volume with the Tale 
of the Tub, has relation to two keen and memorable controversies, which, at this 
time, divided the literary world, and, in some respects, were mingled with each other. 

" The first was the grand comparison between ancient and modern learning, a 
controversy which passed from France to Britain. Fontenelle and Perrault were 
the first modern authors who dared to assume to their own times a superiority over 
the ancients. The former denied the ancients any preference in philosophy and 
mathematics ; and upon much more questionable grounds, placed the moderns on a 
level with them in poetry and oratory. Perrault supported Fontenelle in these 



86 



WILLIAM III. 



[1697 



conclusions, and claimed, moreover, for his own age, and for the French academy, 
the superiority in painting and architecture. He even pitched upon the champions 
whose strength he measured against those of antiquity ; and it was with something 
like a sacred horror, that men of learning heard him compare the Bishop of Meaux 
to Pliny ; Boileau l to Horace ; and Corneille to all the Grecian and Roman dra- 
matists. This juxtaposition of personages brought down a torrent of ridicule upon 
Perrault, before which he shrunk, and finally retracted his opinions. The contro- 
versy, meanwhile, had been kindled in England, where some writers asserted the 
cause which Fontenelle and Perrault had abandoned. This doctrine was as un- 
palatable to the English scholars as it had been to those of France ; and Sir William 
Temple, the most distinguished among them, by rank, talents, and the high offices 
of state which he had discharged, published in answer, his Essay upon Ancient and 
Modern Learning. 2 Mr. Wotton ventured to reply to this treatise, and received 
some assistance from Dr. Bentley, of a nature to be hereafter mentioned ; and thus 
standing the warfare about 1697, Swift's powers of satire were naturally exerted 
against Bentley and Wotton, in behalf of his patron. With what justice these 
learned persons are turned into such unqualified ridicule, must be greatly doubted 
by those who consider the controversy. That we have far exceeded the ancients 
in the knowledge necessary for the exercise of all useful arts, and in the philosophical 
principles on which these arts depend, cannot be disputed by their warmest ad- 
mirers. On the other hand, it must be allowed, that, in poetry, oratory, and other 
exertions of the imagination, those who came first to the harvest-field reaped the 
richest part of the crop. We do not properly state Milton to have been inferior hi 
genius to Homer, when we give precedence to the latter as the more original poet ; 
for, although the same field was open to both, it is obvious that the modern must 
either avoid the track which had been occupied by his predecessor, or be contented 
to subject himself to the charge of having walked in his footsteps. Accordingly, in 
measuring the strength of the ancients and moderns, Swift has not failed to match 
the combatants in such a manner, as fully to avail himself of this advantage. 
Davenant and Wesley are overthrown by Homer, and Dryden by Virgil ; but we 
have not the issue of the combat between Aristotle and Bacon ; nor are we informed 



1 " Boileau, feeling more like a scholar than an author, assailed, with the followii 
epigram, those who had raised him to a level with Horace : 

' Quelq'un vint 1'autre jour se plaindre au Dieu des vers 

Qu'en certainlieu de 1'univers 
. L'on traite d'auteurs froids, de poetes steriles, 

Les Homeres et les Virgiles : 

" Cela ne sauroit, Ton se moque de vous," 

Reprit Apollon en courroux : 

" Ou peut-on avancer une telle infamie ? 

Est ce chez les Hurons, chez les Topinambons ? " 
C'est a Paris. C'est done a 1'Hopital de fons ; 
Non, c'est au Louvre en pleine Academic.' 

"Racine made another upon the same occasion, more particularly directed 
against Perrault ; 

4 D'on vient, que Ciceron, Platon, Virgile, Homere, 
Et tons ces grands auteurs que 1'univers revere, 
Traduits en vos ecrits nos paroissent si sots, 
Perrault ? C'est qu'en pretant a ces esprits sublimes 
Vos faqons de parler, vos bassesses, vos rymes, 
Vous les faites tons paroitre des Perraults.' " 

2 See "An Illustration to 'A Tale of a Tub,' " "Grub Street Authors Triumph 
over Time," 1696, No. 1321. 



,697] WILLIAM III. 87 

which of the ancient charioteers wounds the author of the discovery of the circula- 
tion of the blood. It is also remarkable, that Milton's name does not occur through 
the treatise, and that the author has drawn no comparison between the ancient and 
modern dramatists. 

" A more private and petty subject of controversy, but which, perhaps, on that 
very account, was conducted with yet greater animosity, was involved in the grand 
comparative discussion of ancient and modern learning. About 1624 l the Honour- 
able Mr. Boyle, a young gentleman of high promise at Christ Church, was engaged 
in a new edition of the Epistles of Phalaris. While thus occupied, he applied to 
Dr. Bentley, then keeper of the King's Library, for the use of a manuscript of his 
author which was there deposited. This, according to Mr. Boyle's statement, was 
reluctantly lent, and hastily withdrawn usage of which he complained in the pre- 
face to his edition of Phalaris. Nearly three years afterwards, when Mr. Wotton 
published his 'Reflections upon Ancient and Modern Learning,' Dr. Bentley 
supplied an appendix, in which he denied the authenticity of the Fables of JEsop, 
and of the Epistles of Phalaris, not without sharply retorting upon the honourable 
editor for the misemploymeut of his time in publishing a spurious author, and for 
the reflections he had thrown out in his preface touching the manuscript. This 
dissertation also affected Sir William Temple, as it vilified, and degraded, as 
spurious, an author upon whose merit he had founded considerably in his contro- 
versy with Wotton. To these reflections Boyle answered in the treatise known by 
the title of Boyle against Bentley, to which Dr. Atterbury, and many of the Christ 
Church wits, are said to have contributed. Dr. Bentley retorted in another volume, 
which has been called Bentley against Boyle. The fashion of the day gave the 
victory to Boyle, and his more learned, though less popular rival, was for a short 
time the butt of general ridicule. At one time, he was painted in the brazen bull 
of the tyrant to whose epistles he had denied authenticity, still bellowing forth, 
however, ' I had rather be roasted than boy led.' On another occasion, Garth tlms 
compliments his antagonist, at his expense, in the following lines : 

' So diamonds take a lustre from their foil, 
And to a Bentley 'tis we owe a Boyle.' 

Swift too, whose patron, Temple, did not escape some touches of Bentley's lash, 
has retaliated in his behalf, with an unsparing hand. Yet, after all that wit could 
allege, it has, I believe, been long an admitted point among scholars, that Bentley 
had decidedly the best of the argument ; nor can we, who look back upon it at the 
distance of an hundred years, discern the least inferiority. in his mode of conduct- 
ing the warfare." 

21 x 4f- in. Brit. Mus. Library, 1079. h. 6. 



1335- 

FRONTISPIECE TO " A FULL AND TRUE ACCOUNT OF THE 
BATTLE FOUGHT LAST Friday BETWEEN THE ANTIENT 
AND THE MODERN BOOKS IN ST. James's LIBRARY. 
DUBLIN : MDCCLXL" (No. 2.) 

Before the Battle of the Books. [1697] 

THIS engraving is a copy from that which is described under the same title and 
date, (No. 1.), No. 1334. 

It is inferior to and larger than the original. The shadows of the bars 

1 A misprint ; probably 1 694. 



88 



WILLIAM III. 



[1697 



of the window are cast on the wall at the side of the window -opening in the ori- 
ginal, these do not appear in the copy. In the latter, the figure of a fallen 
warrior is on the floor of the room in front of the open book which lies there on 
our right at foot, no such figure is represented in the original; another open book, 
which lies near the lower right comer of the original, does not appear in the 
copy. 

" Plate 8 " is engraved above the design, and " Before the Battle of the 
Books" below it. 

3 X 5 in. Brit. Mus. Library, 12330. bb. 

1336. 

FRONTISPIECE TO " A FULL AND TRUE ACCOUNT, OF THE 
BATTLE FOUGHT LAST FRIDAY, BETWEEN THE ANTIENT 
AND THE MODERN BOOKS IN ST. JAMES'S LIBRARY. 
LONDON : MDCCLX." (No. 3.) 



/. S. Muller inv. del et Se. 



[1697] 



THIS engraving represents the interior of a library, with warriors combatting 
below clouds of smoke ; some are armed with lances, others with swords, bows and 
arrows ; javelins fly through the smoke ; many slain men lie in the foreground ; 
some of the figures wear " Roman shapes," others are clad in mediaeval armour. 
The shelves are nearly void of books. The gods sit in the clouds above the 
combatants, and gaze at the fight. A cobweb is spread over one of the panes of 
the window. 

See an account of the incident which is given with the same title and date, 
(No. 1.); No. 1334. 

At the top of the design is " No. 3, P. 137.' 

This engraving was used again for the edition which appeared in 1766, 
" Works of Jonathan Swift," w^ith notes, &c., by John Hawkesworth (633. c. 1.). 

3f X 5 in. Brit. Mus. Library, 1 2330 ccc. 



1337- 

PAYE QUE TOMBE. 

Die eerst valt betaelt de Speelman, die laest, de Kosten. 
[[Who falls first pays the Player, who last, the costs.] 

Troupe van Royale Koordedanssers, Onderhouden by 
'1 Hof van Vrankrijk. 

[Troop of Royal Rope-dancers, kept at the Court of 
France]. 

A Satire on the Fall of James II. and the Peace of 
Rys wick, Sept. 1 1, 1697. 

[Sept. 11, 1697?] 

A Dutch broadside, the etched design comprised in which, resembles, in some 
respects, that described under " The English Rope Dancer," No. 874. Below 
the print are four columns of Dutch verse, giving a conversation between the 
persons represented in the design and referring to them by numbers. 

The print represents the interior of a tent or pavillion, on the roof of which 
rcflcurs de lys and roses, emblems of France, or Louis XIV., and England, or 
the deposed James II. In the space within, a tight-rope is stretched. The musicians 
are placed in front, and a large group of spectators behind. Of the former " 3," 



,698] WILLIAM III. 89 

the " Opper Violon " (first violin player), is on our left, with a violincello before him, 
and looks at the disasters of the principal performers on the rope. This figure 
was probably intended for William III. The second player is a violinist, " 2," 
who stands with his back towards us, in front of the stage ; the next " 5 " is a 
drummer, who converses with " 6," " Sweedse Kyker" (Swedish looker-on), a portly 
figure with a baldric slung on his shoulder. "8", " 9", " 1O", " ll", " 12," 
" 13", and " 14", are spectators, representatives of many countries of Europe ; 
they express their feelings with regard to their own positions and those of the 
performers. 

The performers consist of "15 " " Den Opperbaas " (Master-Player), i. e. 
Louis XIV. who is seated on a rope which binds the posts over which the tight- 
rope is stretched ; he observes the catastrophe which has happened and comments 
on its ruinous effects. " 1 6 " " Zyn Zoon " (his Son), the Dauphin, stripped to his 
shirt-sleeves, and with a balancing-pole in his hands, is ascending the rope, and 
expresses his confidence in success. " 17" James II. who has been blindfolded, 
and slipped in the middle of his walk on the rope, so that he now appears falling 
headlong, a balancing-pole falling with him ; he cries for help, and enquires if 
all his work is thus to be ended. " 1 8", is the queen, Mary of Modena, who 
appears to have traversed the rope almost to the end where, while in the act 
of descending, a ladder breaks under her, so that she falls with a child, the first 
Pretender, in her arms ; the child plays with a little trumpet. " 19" is " Hansop," 
(the Merry-Andrew of the exhibition), who lies on the floor below the rope and 
addresses the spectators on the occasion ; he is represented as an old man, with 
gridirons, pairs of spectacles, and crowing cocks painted on his dress. " 2O", " Yrse 
Knecht " (the Irish soldier, or servant), turns away on witnessing the fall of his 
master. " 21", the Savoyard, and " 22", the Algerian Rover, express their con- 
cern in the matter which is thus represented. Two spectators look over the fence 
of boards which encloses the booth. 

It is probable that this design refers chiefly to the defeat of the hopes of 
James II. of England, when the Peace of Ryswick was concluded, Sept. 11,1 797, 
by which Louis XIV. undertook not to dispute the right of William III. to the 
English throne. By the same agreement the Dutch made a treaty of commerce 
with the French, and the French restored to the King of Spain the towns which 
had been captured in Spain and the Low Countries. 

This print was republished at a much later date, with n.ew letterpress at foot 
in Dutch, English, and French, giving the names of the persons to whom it was 
thus made to refer ; these were members of the generation which succeeded those 
formerly indicated, as above described. " 3 " became France ; " 9", which had 
been Spain, became " the Cardinal de Fleury looking out ofjiis grave;" " 13", 
England; " 15", became the Emperor, a figure which erst stood for Louis XIV.; 
" 17", the falling rope-dancer, was changed from James II. of England, to repre- 
sent his grandson, the second Pretender, and one of the spectators who look over 
the fence, as above described, became " the old Pretender," who at first appeared 
as a child in his mother's arms ; this child and Mary of Modena were, in the 
second case, referred to " Spain." The Merry-Andrew became Cardinal Te^in. 
See " Paye qui Tombe," April 1 6, 1 746. 

151 X I3i in. 

1338. 

" PACE." An Allegory of the political state of Europe. 

1698. G. M. Mitelli, In. Fe. [1698] 

THIS Italian etching represents an open field, with a rising ground in the dis- 
tance on our right. In front an allegorical statue of Peace, holding olive 



WILLIAM III. 



[1699 



branches in both hands, crowned with an olive wreath, and having a casque 
and naked sword under foot, stands on a pedestal which is inscribed " PACE." ; 
the statue is tottering and about to fall, notwithstanding the efforts of four men 
to sustain it. The four men are, " l", a German, who props the figure with a 
pole, on which is " Schaue Wohl das nicht Breche" (Take care that it does not 
break) ; " 2", a Frenchman, also using a pole ; he says, " Lui faut la force, et 
gran iugemcnt" ; " 4", an Englishman, with a pole on which is " Be you ashured 
on my Side". " 3", a Spaniard, who stands on the side of the figure opposed to 
the other three men, says, " Yen mis manos no tiengo miedo" (When in my hands 
you need not be afraid) ; he is pulling at a rope which is bound about the waist 
of the figure. The swords of all the men lie on the earth, together with the 
Frenchman's hat. On the rising ground are two Turks, one of them is kneeling, 
and looking through a telescope at the proceedings of the men who are endeavouring 
to support the statue ; the other Turk stands by the side of his companion, and, 
with his arms raised in the intensity of his anxiety, exclaims, " Se non cade, noi 
siam morti" (If she does not fall, we shall be lost.) 

Below the design is the following, to the same effect as the above : 

" 1. Tedesco. Guarda ben che non si rompa. 

2. Francese. Li uuol forza, e buon guidicio. 

3. Spagnolo. E' in nue man non ho paura 

4. Inglese. Sta sicura dal mio lato." 
8J- X 10J in. 



1339- 

" THE QUAKERS SYNOD." 

[1699] 

AN engraving which was originally comprised in a broadside, by Francis Bugg, 1 styled 
" Some REASONS Humbly Proposed to the Lords Spiritual and Temporal Assembled 
in Parliament, why the Quakers Principles and Practices should be Examined, and 
Censured or Suppressed. LONDON, Printed for the Author, by Rich. Janeway,jun. 
on Addle-Hill, near Doctors- Commons, and Sold by J. Robinson, at the Golden" 
Lion in St. Paul's Church-yard ; where also may be had his other Books, 1 699." 
Endorsed " Some REASONS Humbly Offered, why the Quakers should be 
Examined." 

The engraving represents an assembly of the Society of Friends in a chamber, 
having two windows and a fire-place, in which a fire burns. Two lines of seated 
" deputies" appear on three sides of the chamber ; on the fourth side of the 
square which is thus formed is placed a table bearing " ye Journal of G. Fox" 
and an open volume, inscribed " church Canons ; " three men sit on the distant 
side of this table, at one end is " B : Sealing, scribe" with a pen in his right hand, 
his left hand on a sheet of paper before him. Above these, as if on a raised 
platform, or standing, is " G. Whitehead" 2 apparently the president of the meeting, 

1 F. Bugg, a seceder from the Society of Friends, who wrote many works in 
opposition to that society. Among these works was " Quakerism Anatomiz'cl and 
Dissected ; shewing from plain Fact that a Right Quaker is a Cruel Persecutor ; 
by way of Dialogue ; whereby the Great Mystery of the little Whore is further 
unfolded. Part V. By Francis Bugg, a Servant of the Church. Sold by R. W ilkin 
at the King's-Head ; J. Knapson, at the Crown ; and W. Carter, at the Green 
Dragon, in St. Paul's Church-Yard. Price 3*." See "The Post Boy," April 9, 1 709. 

2 George Whitehead, one of the most eminent members of the Society of 
Friends, born at Orton, Westmorland, 1 636, suffered much for his conscience' sake, 
and was greatly persecuted by means of imprisonment and whipping. After the 



1699] WILLIAM III. 91 

saying "Are the doors shut ?" and four other men ; of the latter, one is " Wm. Penn" 1 
who says, " Call over ye List, Are none of Truths enemies here ? " Another is " W. 
Bright" saying, ''yea the doors are lockt." 

The text, which is given in letterpress, states that the Society in question 
held a yearly meeting, when " they vertually (tho' not verbally) Repeal such 
Parts or Branches of the Laws, as do not Quadrate with their Light within, and 
thereby absolve the King's Subjects (if the Quakers may be called such) from their 
Active Obedience to the Laws of the Land ; thereby causing them to adhere to a 
Superior Power to that of King, Lords arid Commons ; namely, to their Light 
within ; to which they say all Power in Heaven and Earth is committed, as above 
noted; and by Virtue hereof, what is made Lawful to Day at Westminster, 
(to speak comparatively) they Null and make Void to Morrow at Grace- Church- 
Street, is not only Unlawful, but Antichristian: And how far this affects the 
Government, I humbly submit to our Legislators. V. At this Meeting they keep 
their Doors Lockt, Barr'd, or Bolted, or a Guard of Men, to prevent Inspection, 
whereby they have forfeited the Benefit assigned them by the Act of Toleration, 
made the 21 of May, 1689, and in the First Year of Their Majesties Reign, 
King William, and the late Queen Mary'' 1 

The text comprises references to George Fox, W. Penn, and his work " The 
Great Mystery of the Great Whole unfolded," 1 659, the treasurers of the Society of 
Friends in 1 693, the pacific principles of that Society, the corresponding of its 
members with foreigners, the danger to which England might be exposed if the 
American Colonies " call to their Assistance Two or Three Regiments," and to the 
alleged articles of the peculiar creed of the Society; it likewise refers to the 
author, as having a controversy with G. Whitehead ; to James Parnell, ? as having 
suffered martyrdom in the cause of the Society. " James Parnell is not only called 
their dear Friend and Brother, but they have bestowed about Three Pages in Quarto, 
most of it in red Letters, to canonize him for a Saint, and to suffer Martyrdom for 
their Cause, though I have been credibly informed that he starved himself, by 
over-long fasting in Colchester Goal : But did not W. Penn forget liimself, when 
he canonized this monster Parnell, for a Saint, since he himself trangress his 
Doctrine, and must go to Hell for Riding in his Coach ? If he says that his is 
no Coach, but a Leathern Conveniency, yet, as I have heard, he hath curious 
Buildings, and good Wine, Waiting Men, and Waiting Maids, and ofttimes good 
and dainty Dishes of Meat, Dives like, (to use his deceased dear Brother's Words) 
and then to Pot he goes ; yea, to the Pit, to the Lake, to Hell and the Devil, 
by this Doctrine of his Canonized Saint : But does Will. Penn believe the 
Doctrine this Fellow preached and writ, and pretended he had it, and gave it forth 
from the Mouth of the Lord ? I suppose not ; for if he does, and thus evidently 
transgress the same, he must be a self-condemned Apostate ; if he does not, but 
believe him to have been a Cheat, and an Imposter, and that he only writ so, to 
affrighten some silly ignorant People, to drink Water, to live in poor Cottages, 
like G. WhiteheacTs in the North, and so thereby prevail upon them to be 
Quakers, that he, as well as his surviving Brother, G. Whitehead, might get good 
Horses and Houses, dainty Dishes out of them. I say, if W. Penn believe this, as 
I am apt to think, the Original will bear this Interpretation : Then Will. Penn is 
a gross Hypocrite, let him and his Brethren get out of this Dilemma if they can, 



Revolution he procured for the Society the legal allowance of an affirmation 
instead of an oath. He wrote " The Christian Progress of Geo. Whitehead," 
London, 1725, and died 1723. See the " Journal" of George Fox. 

1 Founder of Pennsylvania ; born 1644, died 1718. 

2 Author of writings in support of the Society, of which he was a member, e. g. 
" Writings given forth from the Spirit of the Lord," 1675. See the " Journal " of 
George Fox. 



9 2 



WILLIAM III. 



[1700 



I know they'll be angry ; for nothing does more anger these Men, than to touch 
them (as witty Erasmus once said to a monk) in their tender Part, their Belly; 
or in plain English to speak Truth of them, this they account unreasonable," &c. 

" Grace-Church-Street," mentioned above, indicates the Friends' Meeting 
House, in " White-Hart-Court in Gracious Street." 

For a literary caricature of a " Quakers' Meeting," see " The Quakers' 
Meeting," in " A Walk round London and Westminster," page 290, of vol. iii., 
of the " Works of Mr. Thomas Brown," [commonly called " Tom Brown."] 1719 
(12271, a.) 

For satires on the " Quakers," in this Catalogue, see " The Quakers Meeting, 
(No. 1.)," No. 155; the same "(No. 2.)," No. 156; the same "(No. 3.)," No. 
157; "A Qvaker," No. 1 58 ; " The Qvakers Dream," No. 885 ; " John Audland 
Gilpin," No. 886; "The Qvakers terrible Vision," No. 887; "The Qvakers 
Fiery Beacon," No. 888 ; " The Quakers Meeting," c. 1 700 ; " The Saint 
turn'd Sinner," 1 700 ? ; " The Quakers Art of Courtship," 1710; " The Quakers 
Meeting," 1710?; "Aminadab," 1710; " The Committee," No. 1080. 

Si X 7y ' 



1340. 

DE GROOTEN WAERELD VERDEELDER. 
" GRAND LE PARTAGEUR DU MONDE." 

A Satire on the Testament of Charles II. of Spain. 

[Nov. i, 1700] 

THIS Dutch broadside comprises the original of the print described as " A Satire on 
the Testament of Charles II. of Spain," Nov. 1, 1700, No. 1341. It represents 
Madame de " Maintenon " as therein described, with " Philippe" his crown falling 
from his head, on her right, and, on her left, " Louis" On a paper which Madame 
de Maintenon holds in her left hand are written the names of the places lately lost 
to the arms of Louis : " Barcelone Turin Ramelies Milan et Menin. Nous font du 
Chagrin" A bat, " Expresse" flies towards Louis, bearing a paper, inscribed, 
"aw Roy de pire en pire. Hoe longer hoe slegter tyding" The devil (th( 
Cardinal Porto-Carrero) squats in front, as in the copy; the chronographic 
inscription is "frVstra tentastls, astnon De Cet esse MonarChce." (1706.) 

Below are three columns of Dutch verse, an address to Louis XIV. ; at tl 
sides of the print are two columns of French verse, as follows : 

" Loiiis, ne pouvant seul regner au mond entier, 
II prit son Petit-fils, Philippe pour 1' aider ; 
Pour 1'aide il auroit la demie Monarchic ; 
Ne pensaut d'etre tot objet de raillerie. 
Charles second mourut en Espagne, & par la, 
Monarcliie ainsi d' avoir vaincu deja 
Us crurent, par 1'ecrit du tres faux heritage. 
Philippe prend 1'Espagne, a eux un bon presage. 

Par une scie ici ils veulent partager 
Le Monde, dont Loiiis veut a Philippe donner 
La portion d'ouest, tenant 1'orientale, 
Croyant d' avoir trouve, avec grandes cabales, 
Un monde tout de bois, de terre entremele ; 
De leur scie les dents les pierres ont brise ; 
Et pour les bien scier ils aiguisent les dents : 



i 7 oo] WILLIAM III. 93 

Mais 1'acier n'etant fin, ils cherchent vainement 
Du bon acier en France, & Liege, dont le Prince 
Etoit deja chasse & de puissance mince, 
Envers Holland ; ainsi pour aider Maintenon 
Monte d'un bon coeur sur le Monde, sans facon, 
Tachant d'assister Loiiis & par eau virginale, 
De faire bien glisser la scie Monarchale. 
Et au premier instant cela beaucoup aida, 
Elle vint de' couper au peu les Pays-Bas. 
Mais les trompant souvent par despromesse fausses 
Louis cassant traitez, non sans danger se hausse ; 
Trompant (1'Empire exempt) toute la Chretiente. 
Beaucoup de noeuds partant la scie a rencontre. 
Promit aux Bays-Bas Unis une Barriere ; 
Ne donnoit une Ville enfin pour leur complaire ; 
Partant il meritoit leur haine par ses faits. 

Quand Philippe auroit seul 1'Espagne, pour la Paix 
Ce seroit bon dit il ; pour se garder de guerre 
Qu'on avoit seulement les Monarchales terres 
D'Espagne partage. Explicant a sont gre 
1' Accord, voulut tromper tous en tranquillite. 
Mais ce fut un fin trait de tromper un trompeur, 
Philippe en reconnut, pour gagner terns sans peur, 
Pour declarer apres a lui la juste guerre, 
Pour paix il nomma Roi, Guillaume d'Angleterre. 
Jaques deux etant mort, son pretendu fils Roi 
II nomma en cassant pour un batard des Loix. 
A Guillaume il disoit de paix ce n'est rupture. 

Un noeud la scie ici regut, encor qui dure, 
Apres la rnord du Roi Guillaume, quoi qu'il crut, 
Que la scie pourroit glisser seloii son but. 

Et Maintenon ouvrit encore sa fontaine, 
Anjou reprend courage, en diminuant sa peine. 
Mais ces deux grands scieurs se trompoient fort ; 
Croiant les Pa'is-Bas avoir chage de sort, 
Par la Mort de Guillaume : ils ont cm qu'il fut maitre 
Qu'aprez la mort du Chef discordes pourroient naitre. 
Mais on repond, Loiiis, ce Roi fut notre ami. 
Et lie 1'avont pourtant comme sujets clieri. 

Loiiis aux Portugais promit la quarantaine 
De Vaisseaux Guerri'ers, pour eviter la haine. 
Mais n'en donna que quarte & cassa 1'amitie. 
Charles en Portugal est tres-glorieux entre. 

O Noeud tres-dur. Depuis les cotes Britanniques 
Tres-molles il les crut, la scie il y applique ; 
S'imaginant qu'ici la mort du rneme Roi 
Lui seroit tres-utile ; & aussi par ma foi 
II se trompa, car Anne & les Parlementaires 
Virent encore, pour continuer la Guerre. 
Les Charbons de Pierre sont durs dans ce Pays, 
Pour la scie 1 ne crut trouver 1' obstacle ici. 
Les Anglois trop choquez a cause qu'un faux Roi 
II reconnut, cherchoient vengeance cette foi. 
I'Empire 1'attaqua de meme. Les trompetes 
De Guerre centre lui firent un jour de Fete. 
Loiiis pour maintenir sa gloire declara 



94 



WILLIAM III. 

Aussi la Guerre, mais trop foible se trouva, 
Pour vaincre tout par feu & fer, allant combatre 
Par or, la force vraie de Loiiis dix & quartre. 
Corrompant dans 1'Empire Auteurs de trahison. 
L'uu seroit Empereur, disoit le grand Bourbon. 
Sa scie en glissoit done : les rayons aquatiques 
De Maintenon aussi firent forces publiques. 

Deja un noeud tres-dur en revient d'outre mer, 
Casoant le Bavarois, par son triomphant fer. 
Son frere Colonnois devant fanni d'Hollande. 
Les Lauries cTHochstet, Marlbourg, glorieux vous rendent 
Aussi Eugene, mais Loiiis petit Bodoi 
Est General au bain, reposant pour le Roi 
Loiiis son bon parrain, preferant paix a guerre, 
En Septembre tres-tot U fait le militaire. 

Louis, avez ici un noeud dur a scier, 
Par Baviere voulant un combat hazarder, 
En Brabant & aussi sous le doux Villeroi ; 
Vos etendarts charmoient chaucun en son emploi, 
Ornez de beaux Soleils & flammes foudroiantes, 
Montrant au cabinet renommees eclatantes : 
Deplorez la Maison Royale qu'on defit, 
Quoi que etre prisonniers est du plus grand depit. 
Car tous les prisonniers on porte en Angleterre, 
De ceux une Maison de la Heine on va faire, 
Etant un beau Palais des Prisonniers Royaux, 
Auxquels on montre les etendarts pris, tres beaux. 
Gande Joye aux Alliez, dont la belle Victoire l 
De Barcelone est en ce terns oiiie. O ! gloire. 
Tres importante, 6 honte a ces Frangois fuiant, 
Sur terre leur Armee sur mer Vaisseaux quittant. 
Charles vaillant y vit le Soleil s'eclipser 2 
Au cote des Frangois, par ou dut retirer 
Philippe conduise d'une nuit de miseres, 
Fuit tot en Roussillon ayant encore affaires 
A la Cour de Madrid avant d'etre au logis 
En France chez Louis le Grand & Louis 1'Hardi. 
Ne sgut pourtant, s'il put retrouver le passage, 
Enfin y arrivant, il fit tres grands ravages, 
Cassant tableaux, tapits, point aises d'emporter, 
Les Joyaux ci-devant il vint d'empaqueter, 
Envoiant a Grand Pere. Une scie petite 
Prenez Louis, (car cette grande ne va vite) 
Pour scier ces joyaux, ausquels n'avez pareils. 
Car pour vous delivrer de honte est ce conseil ; 
Chacun les contemplant sgauroit que la Couronne 
D'Espagne eut tels joyaux, a trouver chez personne 

Voila un noeud nouveau, Roi Charles proclame 
A la Cour de Madrid, 3 & des Grands I'amitie 
Ses petits ennemis t6t chassera en fuite. 



[1700 



1 May 12, 1706. See "A Trumpeter and a Drummer," &c., May 12, 1706. 

2 See " Louis XIV. terrified by the Eclipse," &c., May 1 2, l 706. 

3 See " Portrait of King Charles III. of Spain," June 27, 1706. 



i 7 oo] WILLIAM III. 95 

Et par ce que partantant le peuple ne s'irrite, 
En France, on va partout nouvelles distribuer. 
Qu'Anjou retournera a la Cour sans danger. 

Turin, quitte apres trois grands mois de defense. 1 
Avec perte de tout, 6, nceuds tres durs de France. 
Le lache Gouverneur de Goito 2 1'a cause 
II s'est rendu trop tot, & partant decolle. 
A tons laches voulez Louis, trancher la tete. 
De Villeroi il faut commencer, c'est une b . . . . 
Aussi qui n'a tenu Ostende que trois jours. 
Carraman a Menin 3 suivit semblable cours ; 
En seize jours la cle de France il vient de rendre. 
Et Dendermonde on n'a hazarde a defendre ; 
A la seconde fois cette ville assiegee, 
En deux jours se rendit, Garnison captivee. 
Vendome & Orleans belles conquetes firent ; 
Ce dernier inventa une marche pour rire, 
Chargant sur chariots soldats pour marcher t6t ; 
Pour prevenir Eugene a Turin. Juste lot 
Seroit a ces Heros de decoller les faire. 
Ainsi vous tiendrez peu de vos Heros de guerre. 
Des troupeaux virginaux d' Orleans denoncez. 
Peutetre il y en a, comme en vieux terns assez. 

Mais enfin, ne gagnez rien, en sciant le monde. 
Sciez des tombes pour vos Heros, dont abonde 
Le nombre des tuez. En Espagne, Pais-Bas, 
Et puis pres de Turin. O ! tres funestes pas : 

Ou faites au patron des charpentiers priere, 
Qu'il donne un Ordere beau de la scie a Baviere, 
Parce que 1'Empereur la Toison d'Or lui prend. 

Saint Louis, 6 grand Hoi, vos prieres n'entend. 
Ne faites 1'honeorer a present dans 1' Alsace, 
Ne delivrant Menin : aussi ne vous font grace 
Genevieve, Denis, Marcel, saints pretendus. 
L'ete de votre etat avez tres tot perdu. 

Votre scie a 1'hiver vous sera d' assistance, 
Sciez Vaisseaux brisez de Barcelone en France 
Flottez, provision de bois pour vous chauffer. 
Si cela ne suffit on fera plus briser 
Par la Flotte Alliee, vous renvoiant le reste, 

De ne scier le monde a bon droit on proteste 
Pour vous. A Alexandre un Monde ne suffit. 
Etes plus grands heros, pour quoi done un demi ? 

L'iniquite du siecle un demi ne vous laisse, 
Anjou las de scier, voit que fort on vous baisse. 
Invoquez le Demon, qu'il vous aide a scier, 
Et le voila ome, d'un beau chapeau pourpre. 
A bon droit le demon ce grand Louis assiste : 
II aime a troubler paix, d'on c'infernal subsiste) 
Assistent les Hongrois, pour Suede jouissant. 
La ruine d'Auguste & du Csar il attend. 



1 See " The Tomb of Universal Monarchy," Sept. 7, 1 706. 

3 Goito, near Mantua. 

3 See "The Capitulation of Menin," Aug. 22, 1706. 



96 



WILLIAM III. 



Tachant en vain, Louis, d'inciter a la guerre 
Le Turc, Venisien, Lombard & tout Canton, 
Vous quitteront plus tot, par vos pertes, Bourbon. 
Deux Rois & Maintenon, preuez garde au Diable 
Qu'il ne soit desormais 1'objet de cette fable." 

See " The Duke of Anjou Whipping Cardinal Porto-Carrero," &c., Nov. 
1700, No. 1342; " A Satire on the Testament of Charles II. of Spain," same dat 
No. 1341; "The Cardinal Porto-Carrero and Charles II. of Spain, (?)" same date; 
" The Duke of Anjou stealing the Spanish Crown," same date, No. 1 343 ; " Poi 
trait of Charles III. of Spain," etc., June 27, 1706; " The Tomb of Univer 
Monarchy," Sept. 7, 1 706. 

This print is No. 56 in the second volume of the series of Dutch satires on 
Mississippi Scheme, styled, " Het Groote Tafereel der Dwaasheid," &c., 1 7 20. 
The idea of this design re-appears in " The Queen of Hungary's Whetstor 
Oct. 1745. 
H X 7 in. 



A SATIRE ON THE TESTAMENT OF CHARLES II. OF SPAIN. 



Pag- 434- 



[Nov. l, 1700] 



THIS print faces page 435 of vol. iv. of" Poems on Affairs of State, From l62( 
to this present Year 1707," London, 1707 (1707.!. 19.) It is the first illus 
tration in a supplementary part of this publication, which is styled, " A Collectk 
of some Satyrical Prints, publish'd beyond Sea, relating to the Affairs of Euro{ 
since the French King (Louis XIV.) plac'd his grandson on the Throne of Spaii 
With their Explanations in English." This print is a copy from that descril 
under "De Grooten Waereld Verdeelder," &c., Nov. 1, 1700, No. 1340. 

The design represents Madame de " Maintenon" seated on the world, accordii 
to the verses which are quoted below ; standing below her are " Lov is " (XIV.] 
and " Philip", his grandson, Duke of Anjou, i. e. Philip V. of Spain, who, 
virtue of the so-called "Testament of Porto-Carrero," made by Charles II. 
Spain, became king of that country. The two kings are cutting the world wil 
a saw. In front of the globe, and supporting it, the Devil squats on the groui 
in the shape of a winged toad, with a tail which has a barbed point. He wears 
cardinal's hat, and holds a label, on which is written, "Porto carero." This 
intended to represent the Cardinal Porto-Carrero, Archbishop of Toledo, miuist 
of Charles H. of Spain, who was accused of forging that king's will. Belov 
the figures is the chronograph, " FrUstra tentastly, est non DeCet esse MonarChe.' 
(1706.) In the upper corner, on our left of the plate, is, " Pag. 434-" On 
opposite page is the following notice of this design : 

" A Collection of some Satyrical Prints, publish'd beyond Sea, relating to 
Affairs of Europe, since the French King plac'd his Grandson on the Throne 
Spain. With their Explanations in English. 

" There needs little Explanation to this Cut, the Figures and the Postui 
explain themselves. The two Kings, Lewis the XIV. and his Grandson Philip 
V. are the Persons represented sawing the Globe ; the Devil, Ambassador froi 
Porto-Carrero, supports it ; and Madam Maintenon to make the Saw go glil 
waters it with her own chast Stream. 

" When Anjou stept into the Spanish Throne, 
The mighty Monarchs thought the AVorld their own. 
They set their Saw to cut the Globe in two, 
And share both Worlds the old one and the new. 
But tough they find the knotty Work, and flinch,' 



.i 7 oo] WILLIAM III. 97 

Before the grating Tool has gain'd an Inch. 
Old Maintenon, who sees how hard they draw, 
Steps on the Ball and whets the rusty Saw. 

But tho she lets Fountains play, 1 

The Monarchs sweat in vain to saw their way. 
They pay for what they get in either Spain, 
And lose a thousand Foot for one they gain." 

See, for illustrations from the same series, " Queen Anne eclipsing Louis XIV.," 
August 13, 1704; "The Duke of Bavaria in a terrible Passion," July 18, 1705; 
"Louis XIV. terrified by the Eclipse of May 12, 1706," May 12, 1706; "The 
Tomb of Universal Monarchy," Sept. 7, 1706; and "Prince Louis of Baden 
asleep," 1706. For the subject see "The Duke of Anjou Whipping Cardinal 
Porto- Carrero," Nov. 1, 1700, No. 1342; "The Cardinal Porto-Carrero and 
Charles II. of Spain (?)" same date, No. 1 344 ; and other references which are 
given with "De Grooten Waereld Verdeelder," Nov. 1, 1700, No. 1340. 

4i X 5i in. Brit. Mus. Library, 1077. 1. 19. 



1342. 

" THE DUKE OF ANJOU WHIPPING CARDINAL PORTO-CARRERO 
FOR FORGING A WlLL OF THE LATE KlNG OF SPAIN." 

[Nov. 1, 1700] 

THIS engraving forms the two of spades of a pack of playing cards which refer to 
the War of the Spanish Succession, victories of Marlborough, &c. ; c. 1 706. (See 
7913. d. i.) 

The design represents the Duke of Anjou (Philip V. King of Spain, grandson 
of Louis XIV.) flogging Cardinal Porto-Carrero, minister of Charles II. of Spain, 
on his bare back while he is tied to the tail of a cart. The Cardinal, Archbishop 
of Toledo, who wears a Jesuit's hat, wrings his hands, and cries " the Reward of 
forgery"; he was accused of having forged the testament of Charles II. See "A 
Satire on the Testament of Charles II. of Spain," Nov. l, 1700, No. 1341 ; and 
references to other satires on this subject, which are given with " De Grooten 
Waereld Verdeelder," same date, No. 1340; "The Cardinal Porto-Carrero and 
Charles II. of Spain (?)" same date, No. 1 344. 

The above title is engraved below the design. 

In the upper corners respectively are the conventional sign of the suit to which 
this card belongs, and "//." for its number. 

2$ X 2| in. 



1343- 

THE DUKE OF ANJOU (PHILIP V. OF SPAIN) STEALING THE 
SPANISH CROWN. 

[Nov. 1/1700] 

THIS engraving forms the king of spades in a pack of playing cards which refer to 

the War of the Spanish Succession, victories of Marlborough, &c. (See 7913-d. i .) 

The design shows Philip, Duke of Anjou, grandson of Louis XIV., walking 

1 The act in which Madame de Maintenon is represented is that said to have 
been performed by witches when they desired to raise storms ; probably this sup- 
posed practice suggested to the designer the notion of so depicting the lady. 

II. H 



9 8 



WILLIAM III. 



away with the Spanish crown, and pursued by two men, one of whom cries " 
thief." 

Below the design are the following lines, engraved : 

" All Europes Riveted in this Belief 
My Grandfather before me was a Thief 
I'll steal Spains Crown & lewells wth its pelf 
And be at last a nominal king my self." 

Above the design are engraved the conventional sign of the suit to which 
card belongs, and "King." For references to other satires on this subject, 
"De Grooten Waereld Verdeelder," Nov. 1, 1700, No. 1340. 

2 X 2 in. 



I344- 

THE CARDINAL PORTO-CARRERO AND CHARLES II. 01 
SPAIN (?) 

[Nov. 1, 1700?; 

THIS engraving forms the knave of spades in a pack of playing cards, which rei 
to the War of the Spanish Succession, victories of Marlborough, &c. (See 791; 
d. l.) 

The design represents the interior of a bed-chamber, where a King (Charles 
of Spain P) is lying moribund, or just deceased, in bed, and holding in his ri 
hand, which lies on the coverlet, a sheet of paper, his will ; this paper is stolen fi- 
nis hand by a cardinal (Porto-Carrero ?), who is seated in a chair at the foot 
the bed. 

Below the design are the following verses, engraved : 

" Not only Cologn but Bavaria too 
Tho' knaves in grain are reckond Sts to you. 
A Priest begot 'twixt forgery and deceit 
Wt cant he do wt mischiefs not compleat?" 

In the upper corners respectively are the conventional sign of the suit 
which this card belongs, and " Knave." 

See " The Duke of Anjou Whipping Cardinal Porto-Carrero for forging a Wi 
of the Late King of Spain," Nov. 1, 1700, No. 1342 ; "A Satire on the T< 
tament of Charles II. of Spain," same date, No. 1341 ; and " De Grooten Waerelc 
Verdeelder," same date, No. 1340. 

This satire imiy refer to the first will of Charles II. of Spain, caused 
indignation at the arrangements which had been made by William III. of Engls 
the Dutch, and Louis XIV. of France, called the " First Treaty of Partition," 
means of which Charles's dominions were to be divided. Moved by indignation 
this disposition of his inheritance, the Spanish king made a will, under the dii 
tion of Cardinal Porto-Carrero, by which he declared the Prince of Bavaria heir 
all his dominions; that Prince, however, died at Brussels, 6th February, 169* 
Thus the " First Partition Treaty " and the first will of Charles H. of Spain w( 
nullified, and the second testament of that monarch, often referred to in this 
logue, was called for and the " Second Treaty of Partition " was formed. 

2$ X 2$ in. 



i7oo] WILLIAM III. 99 

I34S 

" /ESOPUS IN EVROPA." 
Esopus in Europa. 

R. d H. invenit (Romeyn de Hooghe.) [!7OO] 

Gedrukt na de Romeinsche Copy, En warden Verkoft '/ Amsterdam, By Se- 
bastiaan Petzold, op het Rokkin, in de drie Kroonen. 1701. 

THIS etching is on the title-page of No. 1 in a series of Dutch tracts designed 
to satirize the opponents of William III., and published in 1701-2. Each tract 
bears an etching on its title-page, the work of Romeyn de Hooghe, as described 
in this Catalogue, with the date 1700. 

The etching represents a space in front of an architectural composition, a 
doorway of classic design, as of a tomb, over which is a laureated bust of Esop. 
A tiger (France) who has placed himself behind a sarcophagus, holds a tablet 
or shield in his paws and, being in great distress, addresses a lion, cat, unicorn, 
and an elephant, who are placed opposite to him. The " Fable " is given in the 
tract, in Dutch, and is to the following effect: 

Esop in Europe. 

The Covenant of the Tiger, made between him, the Unicorn, the Lion and 

the Cat. 

The Tiger (France). 

The animal states that he is quite powerless, and will try to have a covenant 
made with his enemies. Formerly one of the most powerful among beasts, his 
claws are now blunt. Yet the general peace disgusts him ; and he will manage 
affairs so that when the most powerful are content, the others will needs have 
to follow them. He accosts the other animals, and proposes to divide the pos- 
sessions of his relative, who is on his deathbed (Charles II. of Spain). 

The Lion (William III.) 

It is not prudent to divide the hide before the wearer is dead. I fear to 
dim my glory by such an action. Yet I will not refuse to hear your proposal. 

The Unicorn (the Empire ?) 
I do not trust in your proposals, Mr. Tiger ! 

The Cat (the Dutch) 

Again new caprices ? Why shall we be disqiiieted ? Yet I am ready to hear 
you. I know enough of your tricks, and I fear that you are only studying to ruin 
our states. 

The Tiger. 

Will you kindly hear my proposal ? 

I do not desire anything but the Lands and Shores of Stromli and Vesuvius, 
and you, Lion, shall have the Low lands which lie in your neighbourhood, in 
order to have a wall of defence against us. 

The others together. 
We are content, if we can only rely on you. 

Tiger. 
Whoever breaks this treaty shall be killed by the others. 

The others. 
Then it is all right. 

The Tiger, while retiring, says aside : 

Ah ! my trick has succeeded ; I shall try to turn this treaty occasionally to 
my profit." 



1OO 



WILLIAM III. 



[1700 

Charles II. of Spain died Nov. i, 1700; see " De Grooten Waereld Ver- 
deelder ", Nov. l , 1 700, No. 1 340, and other satires with that date in this Cata- 
logue. The above conversation refers to the "First Treaty of Partition"; see 
" The Cardinal Porto-Carrero and Charles II. of Spain," Nov. l, 1700, No. 1344. 

For the general history of the transactions in question and details of the 
Partition Treaty, see " The History of England ", by T. Smollett, Chapter vi. 13. 
The text is a conversation. 

5 X 3| in. 



1346. 



D TOVERLANTAAREN. 



[The Magic Lantern.] 
Testament of Charles II. of Spain. 



Volgens de Romeinse Copy. 
[By Romeyn de Hooghe.] 



1701. 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 2, in " Esopus in Enropa'% 
Amsterdam, 1701 ; see " JEsopus in Evropa," 17> No. 1345. 

The etching represents the interior of the bed-chamber of Charles II. 
Spain, during his last illness. The king, lying on the bed, contemplates with 
intense interest the picture which, produced secretly by a magic lantern hidden 
behind the head of the bed, appears on the wall before him. A monk, the king's 
confessor, uses the lantern. At the bedside, Cardinal Porto-Carrero, minister 
Charles II., wearing a Jesuit's hat, starts up m affected alarm. The picture, 
supposed vision, consists of an angel who points to a cardinafs hat, thus refei 
to Porto-Carrero himself. Under the hat are the king's crown, sceptre, ai 
order of the Golden Fleece; " En eslo tua Esperanca" is about the angel's 
head. 

The allusions of the design are explained in the Dutch text, of which tl 
following is an abstract. The Testament alluded to is that which was cal 
the First Testament of Charles II. of Spain ; see " The Cardinal Porto-( 
and Charles II. of Spain," Nov. 1, 1700, No. 1344. See the entries in this Cat 
logue, which bear this date, for other satires on and allusions to the subject, 
text is a conversation. 

The Magic Lantern. 

The Courtisaane (a lady at the Spanish Court). 
The Basque (Spanish Ambassador). 
The Hidalgo (a Spaniard). 
The Papist. 

The Hidalgo and the Papist are quarrelling, when the Courtisaane and Basque 
express their opinions about the Testament. The Courtisaane calls the govern- 
ment of Louis XIV. such as to make even the Devil uneasy. The Papist d< 
not agree with that, eulogises Louis, and calls the will the Soul-balm of tl 
Papal realm. The Hidalgo is very indignant at treatment by which 
is to become the slave of France. The Papist expatiates upon the Papal func- 
tions. He says : His Holiness is the Stadholder of Heaven, and we are his. It 
is the duty of the secular power to depend on the Ecclesiastical Power, and 
thank the priests respectfully, be their actions agreeable or disagreeable to the 
The Hidalgo expresses his sorrow at such a state, and the Papist answers, tin 
heaven is more than earth, and that ecclesiastical interests are above secular. 
The Courtisaane, making objections, is silenced by the Papist, who says his duty is 
to extirpate all the heretics, and now France has come to help in that. 



, 7 oo] WILLIAM II I. 101 

France had already made much progress in England, for Philip II. married 
Henry's daughter Mary, and extinguished all the heresies which had been 
kindled by Henry and enlivened by Edward. Now, our spiritual body, seeing 
that Spain and the Empire were unable to support the cause of Roman 
Catholicism, has turned to France, who bribed for us Charles II., and 
revoked the Edict of Nantes, etc., and therefore we ought to honour the will. 
The Basque sees much harm in Louis's plans, and expresses his fear to the 
Papist, that Louis, being too old for women now, may perhaps on a certain day 
become Pope himself, according to his desire or purpose. He gives the Papist 
advice not to trust Louis, that being dangerous for Catholicism. Moreover 
Louis, having deceived England, Holland and Austria, will be attacked by all, 
and they will surely overtop him. The Hidalgo tells all about the will, 
which was already on its way to the different European States, before the king 
was dead. And, before they go, the Courtisaane tells all about the Secret, and 
how Charles II. was induced to change the will. The king being in good health, 
the Cardinal (Porto- Carrero) saw that his influence was diminishing ; so he had 
the health of the king governed by Dr. Terrandi Spina, and the king was obliged 
to keep quiet, and not to leave the Court. Next he made the king unquiet by 
the confessor, and, while in that state of mind, attacked him in the night, by show- 
ing on the wall many figures. 'His Eminence, who watched the king, made a 
cross, and the king saw an image of his father Philip IV. becoming larger and 
larger ; after that came Death, some soldiers, monsters, and, at length, the Devil, 
and, at last, an Angel with a purple hat, and a crown and sceptre. This lasted an 
hour, till the Cardinal delivered the king and himself from this vision by a fer- 
vent prayer. The Confessor, who knew all about it, says that Charles has seen 
the same with the following words : " Son, follow your father, Your death comes 
nearer. These figures (the persons on the wall) will devour you and your 
empire, now and afterwards, unless you find salvation." 

The king, very anxious, could not do anything, and gave many Blancos, and 
go every thing was changed, and the will made just as the Cardinal desired. 
The Basque cries : " Whatever was built on false foundations, will stand neither 
firm nor long." 

ST X 3$ in. 



1347- 

DE BEZWOORENE SCHIM. 

[The Invoked Spirit.] 

Volgens de Eomeinse Copy. 1701. [l7O] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 3, in " Esopua in 
Europa", Amsterdam, 1701 ; see " JSsopus in Evropa", 1700, No. 1345. 

The etching represents a plain in front of a fortified town, and the pretended 
spirit of Ferdinand V., of Arragon and Spain, the Catholic, standing within a 
magic circle, holding his sceptre in one hand and his sword in the other ; as it 
had been supposed to be invoked by a wizard (see the text as cited below), who 
bows before the appearance and holds a torch in his hand. A monk sprinkles 
the "spirit" with holy water from an asperge. Two soldiers start back in 
terror, two monks prostrate themselves at sight of the " spirit." 

The text is in Dutch ; a conversation, of which the following is an ab- 
stract : 



102 



WILLIAM III. 

The Invoked Spirit. 
The Spek, the Moor, and the Pilgrim. 



[1700 



The Spek (a Castilian) sees with sorrow that the Spanish power has 
diminished so much, and cries : " Must people say of us that we have been ? " 
The Pilgrim answers that this was heaven's will, but the Spek avers that the 
weak Inquisitors are the causes of all ; there are still too many Jews and heretics 
in the kingdom. The Moor says that the extirpation and expulsion of the 
Moors was not profitable to Spain, but eternally to be wept for ; for since that 
act was done Spain has gone back in influence and power. The Pilgrim an- 
nounces that a new contract has been made between William III. of England, 
Louis XIV. of France, and the United Provinces, in order to divide Spain 
peacefully, and to keep Europe quiet. The Moor declares that this is the bitter 
fruit of " purifying" Spain. Had they now the Moors, the Spaniards would not 
have suffered this ; the Dutch wars and stupid zeal of fanatics have killed the 
noblest among you ; your artisans are either Frenchmen or Flemings, who go 
away with the money they have earned. The Pilgrim encourages Spek, and 
says that the kingdom of Spain will not finish so badly. Spek says that the 
Spaniards will fight, even if gods, men, angels or devils conspire against them ; 
and the pride of the Spaniard is very well shown when he says : " What, by 
St. Jago, shall a descendant of William I., that bandit, who was proscribed by 
our monarch, and these States, which were a century and a half ago at the 
mercy of Alba, shall they divide our monarchy ? " The Pilgrim answers that 
the affairs of Europe are all settled, and that the great Power will prevent 
troubles in their part of the world if their king (Charles II.) should die. The 
Moor says : " What ? is the king still alive ? I thought, that he was already 
dead long since," upon which the Pilgrim answers satirically : " I never heard 
that the king was dead, unless not to live and to be dead are the same thing : 
like the powerful, who think that not to govern is not to live, or, as young 
people say, ' not to love is not to live.' " Then the Moor tells his companions how 
the news of the king's death had been spread abroad, and after a reply from the 
Pilgrim, the Spek complains of the manner in which Spain has been deceived. 
The Moor gives a warning against Louis XIV., and the Pilgrim says that Spain 
will be done for as soon as Holland and England fail. Should France succeed 
in getting Spain, then certainly would the army and the fleet be improved, and 
if France might lose, then she would be destroyed by her own weight. 

The Moor says : " I hope that things will turn out in that manner, for then 
the case would be analogous to that of Alphonso X. Holy Ferdinand was dead : 
Alphonso feigned him to live, and ruled Ferdinand's empire. The deceit is dis- 
covered. All the Grandees oppose Alphonso. Now quite afraid, Alphonso 
announces that Ferdinand had died four months before, while he is maintained in 
his place by the French and Germans, who have chosen him for their emperor ; 
and with that power in the field, he causes a certain monk to appear as holy 
Ferdinand's ghost : the ghost says all that Ferdinand desires him to say, at 
different appearances. The belief (credulity) of many predominated over the 
wisdom of few, but Alphonso's act incurred the just punishment of heaven, for 
the Germans did not get him for their emperor. The French were all killed 
at the Sicilian Vespers, and the end was that his empire was divided, and his 
children perished." 

5* X 3f w. 



,,oo] WILLIAM III. 103 

I 34 8. 

HANSOP OP DE KOORD. 

[[The Merry-Andrew on the Rope.] 
A Satire on Louis XIV. 

Volgens de Romeinse Copy. 1701. [ 1 7] 

[By Romeyn de Hooglie.] 

THIS etching is on the title-page of a Dutch tract, No. 4 in " Esopus in 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1701, No. 1345. 

The etching represents a landscape with many Indians assembled about two 
poles, which have been used for a tight-rope performance. It appears by the 
text that the Tapuicans and Cannibals had agreed to a trial of superiority in 
dancing on the tight-rope, when the former substituted a monkey for a dancer, 
and were likely to win in the contest. The Cannibals cut the rope during the 
night, and the monkey tumbled down, when the cheat was discovered, the 
monkey was kicked out and the old Tapuican was very glad to escape. The 
design shows the latter escaping from a Cannibal, who has grasped his loin- 
cloth and is about to strike him with a war-club. Several monkeys lie tumb- 
ling on the floor; an Indian grasps one of the creatures by his hind limbs and 
holds him up, head downwards. 

The following is an abstract of the Dutch text, which is a conversation : 

The Merry Andrew on the Rope. 
The Cagador, the Fleming, The Creole and the Gascon. 

These four are introduced as speaking together about the French King in 
8pain. The Cagador is a Spaniard. The Fleming satirizes the condition of 
the Spaniards, who lie with both their feet in the fire and with their body in the 
ashes between two chairs. 

The Creole does not feel happy at all. What ? A French King ruling 
such a proud and ambitious nation ? 

Next they speak together about the manners and the women in their 
respective countries. After that the Gascon begins to boast of his country, and 
considers it as the great oak which protects and governs the other plants 
around. The Fleming and the Cagador express their disgust at the French, 
and the Gascon finishes by saying that the Spaniards will have to sing after 
Louis's times. 

The Creole tells a tale how the Cannibals and Tapuicans had made a 
contract, by which whoever could spring best, should have the mastery over 
all the surrounding peoples. The Cannibal danced well, but the Tapuican 
caused a monkey to dance on a rope. The Cannibals saw the wonders of the 
monkey's jumps, and became jealous, so that they resolved to expel the 
Cannibals. So they cut the rope during the night, and the monkey tumbled 
down. The Cannibals, having seen that this was really a game of monkeys, 
kicked all of them out, and the old Tapuican was very happy to be able to 
escape. And thenceforward enmity between these two nations was greater 
than ever before. 

5f X 3f in. 



104 



WILLIAM III. 



1349- 

HlKHAKKEN VAN DEN TEL. 

[The Flogging of the Ambler of Master Pantagruel.] 
The French in Italy, War of the Spanish Succession. 

Na de Copy van Romen. Gedrukt voor de Wagenaar, die de Tel verkoft 

hadde. 
[After the Roman copy. Printed for the " Waggoner ", who had sold the 

Ambler.] 
[By Romeyn de Hooghe.] [1700] 

THIS etching is on the title-page of a Dutch tract, No. 5, in " Esopns in Eu- 
ropa", Amsterdam, 1701 ; see " JEsopus in Erropa", 1700, No. 1345. 

The etching shows an old horse, in very sorry condition, walking in a hall, 
and driven by many men, who use sticks on its body. Among them is a Jesuit. 
The animal is driven towards the side where is seated the pope, Clement XI., 
whose arms are on the cloth of the table at which he sits. Through an archway 
appears a view of Florence. On the wall is a picture representing the journey 
of the horse, gaily caparisoned and splendidly attended by riders and footmen. 

The Dutch text, to the following effect, is in rhyme : 

The Flogging of the Ambler of Master Pantagruel. 1 

What this text may mean is difficult to state. The poem is a complaint of the 
old horse. She tells how Pantagruel, the great Cock, honoured by all men (pro- 
bably Louis XIV.) desired to have Parthenope (Naples ?) as a mistress for his 
cousin, but Parthenope's grand-father would not suffer that. However, Panta- 
gruel knew how to have access to the fair lady, and scarcely was he with her, than 
grand-papa discovered everything, and all promises which Pantagruel made were 
in vain. At length he tried to recover favour by sending the poor horse, duly 
harnessed and adorned, to grand-papa's hall; but " alas!" says the horse, "there 
was flogging and kicking for me, and so I run about despised and was driven 
away. Oh 1 Pantagruel, help me then ; let me serve you beyond the Alps." 

5 X 34 in. 



1350. 

HET GESCHIL, TUSSCHEN DE FRANSCHE HAAN, EN LOM- 
BAARDSCHE HENNEN, BESLEGT DOOR JUPITER. 

[The Quarrel between the French Cock and the Lom- 
bard Hens decided by Jupiter.] 

French Invasion of Italy, War of the Spanish Succession. 



Volgens de Romeinse Copy. 
[By Romeyn de Hooghe.] 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 6, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see " JSsopus in Evropa ", 1700, No. 1345. 

The etching represents a gathering of poultry about a tub, which stands 
before a hen-house ; the hens are in great consternation, because the cock, who 



1 Pantagruel was Louis XIV. See " Pantagruel Agonisant ", June 30, 
1690, No. 1245. 



, 7 oo] WILLIAM III. 105 

had perched on a bowl in their centre, has been overthrown by an eagle. Jupiter 
sits in the sky. The design refers to the frustration of the designs of Louis XIV. 
on Lombardy, by the intervention of the Imperialists, designs which were in 
accordance with his policy, and connected with the War of the Spanish Succes- 
sion, and the Treaty of Partition, to which William III. was a party. 

The text of the tract, which is in the form of a dialogue between the hen 
and the cock, with Jupiter intervening, is to the following effect : 

Quarrel between the French Cock and the Lombardian Hens, decided by Jupiter. 

The French Cock (Louis XIV.) claims power over all Lombardy, because he 
had been taught by the gods all kinds of good and bad things. Mercury, the 
god of commerce, taught him deceit, &c. : " One thing I wish still ", he says, 
" to take lightning itself from Jupiter's hands." 

The Hens complain to Jupiter of the cruel Cock, who tries to obtain power 
and influence in their house (Italy), and they pray him to deliver them from 
such an invader. Jupiter orders his Eagle to go down and to deliver the poor 
Hens, at the same time giving a sound warning and lesson to the proud Cock ; 
" so that such a Phaeton may find his just punishment on the Po (Eridanus), as 
an example to other proud and haughty tyrants, who invade their neighbours' 
territories." 

The Eagle was England, or rather William III. 

15 X 31- * 



TWIST TUSSCHEN DE SPAANSCHE GlNET, EN FRANSCHE 

MAZET, DOOR ^Esopus IN EUROPA. 

[Dispute between the Spanish Jennet and the French 
Pack-horse, before ^Esopus in Europa.] 

The French in Spain, War of the Spanish Succession. 

Volgens de Romeinse Copy. 1701. C 1 ? 00 ] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 7, in " Esopus in Eu- 
ropa", Amsterdam,- 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents three horses in a battle-field. The Spanish jennet is 
prancing on our left, and full of spirit ; the French pack-horse, wearing a pack- 
saddle, and loaded with a great sack, is on our right, in a miserable condition. 
A war-horse, wearing armour, plumes, and a spiked frontlet, prances in the 
mid -distance. 

The text, of which the following is an abstract, comprises references to Car- 
dinals Richelieu, Mazarin, and Porto -Carrero, as to the French policy which 
obtained before and during the War of the Spanish Succession. The text is a 
dialogue. 

Dispute between the Spanish Jennet and the French Pack-horse, before Esop 

in Europe. 

The Spanish Jennet will not suffer the French pack-horse to come in the stable 
and take his oats there. The former promises to kick the latter out in case he 
should come. 

The French Pack-horse promises to inflict much tyranny on the Spanish 
Jennet, and uses the proverb : " Starved vermin bite very sharply." 

After having enumerated what victories both the parties can boast and men- 
tioned their high birth, they enter into the reason of the Pack-horse carrying 



io6 



WILLIAM III. 



wooden saddle and mill-sacks. It is because the French king has suffered so 
many losses and has had to provide for so many equipments of armies. Tl 
was due to the long wars of Louis XIV.'s reign. 



5 X 3 



1352. 



DE ITALIAANSCHE Vos IN HET GEALLIEERDE TUIGHUIS. 
[The Italian Fox in the Arsenal of the Allies.] 



Volgens de Romeinse Copy. 1701. 
[By Romeyn de Hooghe.] 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 8, in " Esopus in 
Europa", Amsterdam, 1701; see " ^Esopus in Evropa", 1700, No. 1345. 

The etching represents a fox examining a pile of armour aud weapons, &c., 
including a shield, on which is " FEBI"*- , a sword and its belt, a helmet 
drum, cuisses, coins, &c. An opening in the wall shows a city, probably 
with a battle proceeding in front of it, or a siege laid to it. 

The text comprises references to the policy of Louis XIV. in Italy, con- 
nected with the War of the Spanish Succession. Mention is made of Cremona beinc 
surprised, aud nearly taken by Prince Eugene, Jan. 1701 ; the French soldiers 
and their conduct, the Lombard Hens and the French Cock, the invasions 
Italy by the French and Germans, the Arsenal of St. Mark at Venice, Prince 
Eugene, Turin, the pope, Marshal Villeroy, and others, as mentioned in the 
following abstract of the tract. 

The Italian Fox in the Arsenal of the Allies. 

The Fox, who was formerly one of the most considerable animals in 
Esop's eye, had suffered much, and tried to discover his condition to Esop, 
when the great war and the battle led him astray. Then, not knowing where 
to go, he is happy enough to find the door of an arsenal open. He enters. 
He makes an inventory of all the weapons, in order to offer it to Esop. Among 
the things 2 he finds there an old halberd of Brennus, who was put to the 
sword in Rome with all his Gauls, whilst Esop, the master, came into the 
world; as well as a purse with false Louis (For; to begin with, the Fox will 
send a collection of those Louis d'or to France, with two old books of Corn- 
mines and Guiccardini, in order to teach the boaster what may be brought or 
fetched over the Alps. 

5 X 3f ' 



1353- 

RONWKLAGT VAN DE FRANSCHE APOLLO OVER DE VERDORDE 
DlSTELBLOEM. 

[[The Lamentation of the French Apollo over the faded 
Thistle.] 

Failure of Louis XIV.'s plans. 

Volgens de Romeinse Copy. 1701. E 1 ? 

[By Romeyn de Hooghe.] 



1 For " Fortitudo ejus Rhodum tenuit" 

2 Weapons of those who had invaded Italy, not always fortunately for 
themselves. 



, 7 oo] WILLIAM III. 107 

THIS etching is on the title-page of a Dutch tract, No. 9, in " Esopus in Europa", 
Amsterdam, 1701 ; see " Esopus in Evropa", 1700, No. 1345. 

The etching represents the French Apollo, wearing a wig and spectacles, and 
with a sun, Louis XIV's badge, on his head, kneeling on the earth and lament- 
ing over a thistle, the head of which is prostrate. The arrows of Apollo are 
falling out of the quiver which is slung at his side. A rose 1 flourishes 
vigorously at the side of the thistle. In the distance is a view of the Invalides, 
Paris. 

The text, of which an abstract follows here, refers to the futility of the 
long- continued opposition of Louis XIV. to the success and plans of William 
III. The wars of the former on the Khine, Maas, Moselle, Sambre, and 
Lys, &c. are alluded to. 

The Lamentation of the French Apollo over the withered Thistle. 

He invokes a just punishment on all those flatterers who told him that he 
was the greatest, the mightiest of monarchs. He laments his past fortunes, 
and says : " Have not I disposed of peoples and nations ? Have not I made 
the Butterflowers (a reference to the Dutch nation, which was called by Alva 
the nation of cheese and butter) perish along the Maas ? Most of the flowers 
were like the Sun-flower, turning themselves to my caprices ! I planted 
a Thistle, but look, farther on an Orange-tree was growing ; I did much 
to destroy the yellow fruit, but could not, and even the smell 2 of the tree 
made the Thistle wither in which I had put all my confidence. But now, I 
will try to keep it up. With my Italian spectacles on my nose, I will either sustain 
the flower or be ruined myself. If Orange writes: Je maintiendrai? then I 
will write ; Nous maintenons : my motto is constant and present ; his is future. 

" But ah ! how every thing withers around me. I have taken too much hay 
on my fork, and I cannot keep it all. I fear very much that my soldiery, 
sent out to fetch wool, will come back quite shorn of the little they had." 

5 X 3J- in - 

I354- 

SAAMENSPRAAK TUSSCHEN MARFORIO EN JACQUET DU MOULIN. 
[A Dialogue between Marforio and James of the Mill.] 4 

Volgens de Romeinse Copy. 1701. C 1 ? 00 ] 

[By Homey n de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 1O, in " Esopus in 
Europa, Amsterdam", 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents Marforio as a statue without arms standing near the 
gate of a palace, probably that of St. Germain, on the steps of which ^stands a 
young man, " James III.", the first Pretender, in mourning, doubtless for James II. 
who died Sept. 6. 1701. In the distance is a large windmill, referring to the 
alleged descent of the Pretender from a miller. Many persons are walking 
about ; several labourers are carrying burthens ; the front of a church appears 
on our left. 

1 The text speaks of an orange-tree ; see below. 

2 See " Englands Memorial", No. 1 186. 

3 The motto of William III. 

4 James of the Mill, referring to the alleged parentage of the first Pretender ; 
see " Qualis vir Talis Oratio," No. 1 174. 



io8 



WILLIAM III. 



The text contains references to the state of the Pretender's affairs, to R( 
the Marchioness of Powis, "myn Minnemoeder voldaan" who was said to be 01 
of the contrivers of the Meal Tub Plot, see "A Tale of the Tubbs", No. 107: 
There are likewise references to Cardinal Howard ; see "The Solemn M< 
Procession", &c. No. 1072 ; the Bastille, the " Loyolisten", i.e. Jesuits. 

The following is an abstract of the text : 

Dialogue between Marforio and Jacquet du Moulin (the Pretender.) 
Marforio asks a favour from James and claims advancement as justly as mar 
banished people, who were transformed by him into " My Lords, Esquir 
Knights," &c. James decided not to give him anything, and says that he 
not want Marforio' s help, as he stands under the protection of the master of 
universe (Lewis XIV.). Marforio answers that this is not true, as there are 
many in Europe who do not care for the great Cock. James is very angry wit 
Marforio, who tells him that he has had two fathers and two mothers, viz. 
good Woman from the Mill, and a Duchess. Marforio satirizes the poor youi 
man still more, by saying that he can turn with all winds, like a vane ; and Jar 
cries for his people to punish Marforio, who tells James that his herit 
from his father is twelve dogs and cocks, and an almost new rapier, for 
never unsheathed it. Also, a map of the French provinces, politic pic 
to make the Tories and Whigs agree in protecting the old right of the king, &c. 
and, lastly, a " Pyrotechnia", to silence the Presbyterians with a list of the \t 
of the Church taken away by Henry III. Marforio promises to tell him 
of his heritage at their next meeting. 
4|- X 3f in. 



I35S 

GRAFSCHRIFT DOOR MARFORIO OVER EEN DER VADERS v, 
JAQUET BANDYT. 

[Epitaph by Marforio on one of the Fathers of Jam< 
the Wanderer, i.e. the first Pretender.] 

Volgens de Romeinse Copy. 1701. 
[By Romeyn de Hooghe]. 

THIS etching is on the title-page of a Dutch tract, No. 1 1 in "Esopus in Europa' 
Amsterdam, 1701; see " 2Esopus in Evropa", 1700, No. 1345. 

The etching represents a statue with one arm, Marforio, standing on a pedt 
near a triumphal or monumental arch, through the opening of which is a view 
a building, inscribed " Aux Invalides." Opposite Marforio stands a young 
James the Wanderer (or Vagabond), in royal robes, with a broken crown 
sceptre lying on the earth at his feet, and carrying a large wallet or purse, 
which money is falling. On the wallet is " Macht Beloft". James holds 
rosary, with a large medal pendent from its cross ; he has a cross on his br 
About his head three Winds are buzzing. On the breast of Marforio is 
placard. The sculptures on the arch comprise a bas-relief of the deliver 
of Andromeda by Perseus, two statues of warriors, one of which is headless, 
other has a yoke about its neck ; a sword and torch are attached to a tree, tv 
books lie at the foot of the tree, with a helmet. A balance is falling from tl 
top of the arch. On the pyramid which surmounts the arch is " Pollutis sac 
viola is legibus Tyrann et Infam & Monumen turn". The arch is 
unlike that of St. Denis, at Paris, erected by Louis XIV. 

The text of the tract contains references to Home, Newgate, Tyburn, 
Bishops who were sent to the Tower; see "A Medal", &c. No. 115, 



, 7 oo] WILLIAM III. log 

"A Trophy representing the Seven Bishops", No. 11 68, and other entries in 
this Catalogue dated June 29, 1688. 

The following is an abstract of the text : 

Epitaph by Marforio on one of the Fathers of Jacquet Bandyt (Vagabond.) 
Marforio tells James that he has made an epitaph, and James likes to see that 
every one shows his great esteem for such .a protector of holy Jesuitism. The 
former says " One of the ' Guardes Nobles ' has given me the grandfather's 
epitaph: ' Cygist, qui vivoit sans coeur, 8f mourut, sans rendre V esprit? " Marforio 
and James differ in their explanations of this epitaph. James takes it as if it meant 
that his heart and soul were not of this world, and Marforio gives it thus : " Un 
Sol Re Mi Fa Sol " meaning " A king only made me king alone, that is, 
without any subjects, and out of my kingdom." Marforio shows James the 
Latin Epitaph 1 he has made, as every one, even the meanest person, ought to 
have something on his coffin. James wishes to hear it, and Marforio assures 
him that it is very good ; that James had been taught Latin and Greek, so that, 
if he might not become Dionysius at Syracuse, he will become Dionysius at 
Corinth. The Dutch verse is as follows : " He, who lay always under, lies 
here. Who wishes him back ? He wanted English manners, and made a 
Scotch mistake by infringing the Laws of the Country. He feared nothing 
but dangers, except those of the waves, which he crossed continually. More 
afraid of his life and person than of his crown, he left shamefully his throne 
for the holy Seat, and tried afterwards to be replaced on his throne by French 
promises and murderers and rogues. Now he lies dead. His preposterous 
descendants promise him for his comfort Canonization by the grace of 
Louis." Marforio adds : You were called, before you were begotten by your 
second mother, 2 the prayer's child, because Father Peters prayed for you so 
fervently. Your mother sent a gold angel to Loretto, and he (it) scarcely spoke at 
the sanctuary, when your first mother was with child. Loretto promised a son 
with these words of the sanctuary : " Princess, you have a son, The Honour of 
the Masses, and the Support of the Crown." " But immediately after your birth 
affairs changed : Great William came over the sea, and the Papists, with all their 
hangers on, were expelled the kingdom. Then France fought against England 
and the Netherlands, but Louis soon saw with whom he had begun : " un Roy a 
Vepreuve du Canon." At length, the old king (James II.) died. 3 " You are stuffed 
up with the garb of a king and with the titles of a king, and who is richer 
than you ? For, to be sure, he is rich who can give away what he does not 
possess. You are Young Lord Null, and you give Dukedoms, Earldoms and 
Baronies. But whatever you do, you are hated every where in those very 
Dukedoms, &c., and people will escape cruelty and tyranny, by establishing 
firmly the reformed Religion. So are now your affairs." James has strong hope 
in Louis, and calls Marforio a stupid one. But Marforio says that " He who 
would destroy every thing must expect every thing." 
- X - 1. 



1 The Latin epitaph is " Jacobus Nusquam Secundiis Post Fratris Necem 
Rex Ex Lex. Eboracensium Primo Post Hybernorum Fugacium Dux. Avitam 
Sedem Propter Sacram Sedem Reliquit. A Basilipaedo Gallico Rethronandus, 
Veram Fidem Fuga. Non Imperio Protexit. Ubique, Et Tandem Hie Jacenti 
Refrigerium, Et Requiem, Qui Promittunt, Valeant." 

2 See " The Warming Pan," June 1O, 1688, No. 11^6, and other entries in 
this Catalogue with that date. 

3 Sept. 6, 1701. 



1 1O 



WILLIAM III. 



[1 



1356. 

BYEENKOMST DER MOOGENDHEDEN ' IN HEM HOF VAN DI 
LEEUW. 

[The Assembly of the Powers in the Palace of the Lion. 
An Alliance against Louis XIV. 

Volgens de Romeinse Copy. 1701. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 12, in " Esopus in Ei 
ropa", Amsterdam, 1701 ; see "Esopus in Evropa ", 1700, No. 1345' 

The etching represents many annuals, emblems of the Powers of Ev 
gathered about a lion. The assembly includes an elephant, a unicorn, cat, 
tiger, snake, an ass, two eagles, one of which carries fulmen, the other a scept 
and a griffin. 

The following is an abstract of the text of the tract : 

Assembly of the Powers in the Court of the Lion. 

The Elephant (Germany?) 

The Bear (Sweden). 

The Eagle with the sceptre (Austria ?) 

The Unicorn (England ?) 

The Griffin (Savoy ?) 

The Paradise bird (Portugal). 

The Cat (representative of the old Dutch tribe: The Cats). 

The Eagle withfulmen (the Empire). 

The Lion (the Netherlands, t. e. William III.) 

They all complain of the Tiger. The Elephant is very angry because he creat 
so many kings according to his own wishes, and that he takes away the right 
succession of the wife of the Elephant's brother. The Bear remembers tl 
Gustavus Adolphus was not killed by an ambush, but by a shot, fired by Ricl 
lien's order, and how the Tiger deceived the last Charles in making peace, 
The Eagle with the Sceptre is in a fury because the Tiger destroyed his father's 
lands, till the " Oak " and his father's heroism saved him ; yet his brother's 
was destroyed, and he himself was brought near death. The Griffin urges tl 
not to make peace, but to wage war with Louis, and to destroy him. The Ps 
disc bird is of the same opinion, and warns the Powers against Louis's prornis 
who, just like the fowler, whistles softly till he is master of the cockatoo and 
" murmeldier ". The Cat protests also, as the ascending the Spanish throne 
Louis's grandson would be very prejudicial to commerce. They all rememl 
their great actions against the Romans and the Spaniards. The Eagle with tl 
lightning complains equally, and warns the assembly against the consequences 
Louis's ambition. The Lion says : " Common Evil, requires common advk 
for common weal." He proposes to call the Tiger for trial on Monday w( 
before the tribunal of Themis ; after which all of them say : 

" Fiat Justitia, ne pereat Mundm." 

See " De Tyger voor Themis Viershaar", 1700, No. 1357, for a continuatic 
of the subject. 
5 X 3| in. 



, 7 oo] WILLIAM III. in 

I357- 

DE TYGER VOOR THEMIS VIERSCHAAR. 

[The Tiger before the Tribunal of Themis.] 
Trial of Louis XIV. 

Volgens de Romeinse Copy. 1701. E 1 ? 00 ] 

[By Rorneyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 13, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see " Esopus in Evropa ", 1700, No. 1345. 

The etching shows a hall, the Tribunal of Themis, who, blindfolded and 
holding the balance and sword, with a book on her lap, sits on her throne. The 
Lion (the Netherlands, i. e. William III.) stands on the right of Themis. The 
Tiger (France, Louis XIV.) is before the judgment-seat, crouching in tigrish 
fashion, with one paw on the knee of the goddess. An Eagle (that of the Roman 
empire), who grasps fulmen, is in the air behind, and above the Tiger. Outside the 
hall appear the Elephant (Germany ?), Bear (Sweden ?), Unicorn (England ?), &c. 

The text is a continuation of " Byeenkomst der Moogendhenden In hem 
Hof van den Leeuw',", 1700, No. 1356. 

The following is an abstract of the Dutch text, which is in the form of a 
conversation. 

The Tiger before Themis's Tribunal. 

Themis's ears ring with complaints against the Tiger, who revoked (forswore) 
edicts, 1 bombarded Genoa, drove industrious Protestants out of France, and 
disposed of the thrones and crowns 2 of other kings. The lightning-bearing 
Eagle accuses him. The Tiger is insolent, and asks who dare call him 
to trial. Themis answers : " I, Themis, Justice, the mother of Virtues, the 
nurse of the pious, the leader of heroes, the foundation-stone of rest and 
happiness, by whom towns are generated and sustained, and empires supported 
and maintained : I, the balm of security, the preserver of the Soul, I dare judge 
and condemn you." 

The Tiger laughs at all these virtues, and avers that they were banished long 
since from his court, and declares that he will not obey the old laws, as one of 
those of the " Codex Ludovicus " outweighs them all. Themis, finding the 
Tiger recalcitrant, gives her sword to the Lion, in order that he may hinder 
Louis in executing his plans. 

The tiger was France, or Louis XIV., the "lightning-bearing eagle, the 
Emperor, the lion, William III." 

4 X 3i in. 

1358. 

SAAMENSPRAAK TUSSCHEN DE WICHELSTOK, SMELTKROES, EN 
DES MONSTERROL. 

[The Conversation between the Hazel-twig, 3 the Crucible, 
and the Muster Roll] 

A Satire on Louis XIV. 

Volgens de Romeinse Copy. 1701. C 1 ? 00 ] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 14, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see " Esopus in Evropa ", 17> No. 1345. 

1 The Edict of Nantes. 

2 By means of the war in Germany, and the " First Partition Treaty ", 
ending in the War of the Spanish Succession. 

3 Hazel twigs were often used in divination, in seeking treasure in the earth, &c. 



12 



WILLIAM III. 



[1 



The etching shows a table on which stand a hazel-twig, a crucible, and a 
scroll of paper, which is marked like the muster-roll of an army. The muster-roll 
lies open over a globe, as if all the earth was subject to military rule and call. 
On our extreme left of the table lies a money-bag, 1 marked with jfteurs de Us, 
and appearing to be closed with seals. On the bag is Louis XIV.'s badge, th< 
meridian sun ; the word " Eclipsis" is written below the sun. Behind the bag 
is a lily, drooping. On the table lie objects which look like pieces' of charcoal, 
which may refer to the crucible. Under the table are two large baskets, filled 
with papers, probably paper-money ; on one basket is " Geprot: Wissu 

on the other, " Lie Sacken ". One of the legs of the table is marked 

"List ", the other, " Owangh " (?). 

A treasure chest, bound with iron, with the lid open, showing that it is 
44 Uytgeput" (Exhausted), stands near the table. In the middle distance is a large 
building, with inscriptions ; "St. Reynuyt " is over the door, being a person's 
name ; on the reveals of the windows is " Pachter " (Stock-jobber, or bargain- 
maker), " Banquerottier " (Bankrupt), " Muntkna " (Coiner?), and " Charge 

12 Per". In front of the building are three very stout men, courtiers or 
money-dealers, farmers of the French revenue ; see the text, where two car- 
, dinals are spoken of. These wear placards on their breasts marked with jfteurs 
de Us. Several persons, including a cripple in a bowl or on a sledge, who shuffles 
along his way, are bowing obsequiously to the three dignitaries. One of the three 
grasps what looks like a cat-o'-nine-tails. In the distance is a " Gasthuys " 
(Hospital). 

The text contains references to Paracelsus, Basil Valentine, Raymond Lully, 
as transmuters of metal, to the Louvre, Versailles, Fontainebleau, and the 
water- works at the last-named place ; Hungary, Sevenbergen ; Fouquet the 
Financier, the Great Mogul, Italy, Spain, the Sultan, Venice, Holland, London, 
Liege, Cologne, &c. 

The following is an abstract of the tract : 

Conversation between the Hazeltwig, the Crucible, and the Muster-Roll. 

The Twig tells his hearers that he is still eager in seeking gold and silver ; 
and has occasionally been employed in seeking murderers, for instance, at 
Lyons. The Crucible says that there was plenty of gold and silver in the time 
of Fouquet, but that now all of it has vanished. The Twig, asking for an ex- 
planation, is thus answered by the Crucible : There were hi this country very clever 
financiers, who knew how to draw money from the blood and very sweat of men, 
and from smaller things. Two Cardinals 2 were the refiners. The first of them 
put to the sword all those princes and nobles who opposed him, especially if 
there were money to be found. Whoever had money was declared guilty 
high treason, and their possessions came to the crown. The second was an 
Italian, and understood money-making still better. Instead of forty, the treasury 
got a hundred millions a year. But the money was soon lost. What with 
bribing and what with equipping armies and fleets he lost everything. 
Now the Muster-Roll says : " Stupid fellow, I'll show you quite the contrary. 
I am getting stronger every day. I have already 400,000 soldiers on my 
list." Crucible answers : " Yes, that is very possible, for in the sun 3 the 
soldier counts for one, the shadow makes two, the Purse of the Brigadiers 4 three, 



1 See " Saamenspraak tusschen het Valies, de Myter, en het Bonnet ", 
1700, No. 1359. 

2 Richelieu and Mazarin. 

3 Louis XIV.'s badge. 

4 Probably this means that the corrupt corps-commanders, who dealt with 
the pay, &c., of the French armies, charged for three soldiers when there exist 



i 7 oo] WILLIAM III. 113 

the Commissary four." In this manner the king multiplies his soldiers. The 
Muster-Boll says that boasting and great words have much effect in war, that 
raising money is now effected by the price of money ; that rixdollars are 
already worth 4 guilders ; pistolets are worth 14 guilders, and people's gold and 
silver is paid with notes. Miister-Roll continues enumerating the wealth of 
France and Spain and of the Papal treasury, and Hazeltwig retires, persuaded 
that he will not find any business in that country, because he wants to work 
with honest and pious people. 
4f X 3| in. 



1359- 

SAAMENSPRAAK TUSSCHEN HET VALIES, DE MYTER, EN HEX 
BONNET. 

[Conversation between the Money-bag (Valaise), Mitre, 
and the Bonnet.] 

A Satire on Louis XIV. 

Volgens de Romeinse Copy. 1701. [!7OO] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 15, in " Esopus in 
Europa", Amsterdam, 1701 ; see "Esopus in Evropa", 1700, No. 1345. 

The etching represents a valise, or money-bag, extended on the ground 
and open, so that its contents are visible ; it contains a bag marked " Caresses 
Promesses" and embroidered with fleurs-de-lis. This lies beside a drum, 
on which are painted fleurs-de-lis, muskets, shot and shell, and hand- 
grenades. On the drum lie a mitre and two drumsticks. At the side of the 
drum are two books standing on their ends, and marked "Missa"(l), and 
" Zeg-eft(des)." On the books stands a Jesuit's square cap, with a tuft on its 
crown. Behind these are a trumpet, serpent, for military music, and an 
episcopal crook, banners, &c. On our right is a wall, or pedestal, with bas- 
reliefs on it, as if it formed the inner side of one of the piers of a triumphal 
arch. One of the sculptures represents a tiger attacking an ass, while a fox 
crouches near them. This refers to the fable which is included in the text, 
The other sculpture shows men on horseback, part of an army entering a 
fortified town; below this is written " Simpelen" (the People.) In the distance 
is a view of a church, like that of Notre Dame, Paris. 

The "bonnet" of the etching is exactly like a Jesuit's cap, notwithstanding 
that it is described as the advocate of the common people. The text contains 
references to the Stadholder (William III.), the " purple hoods " (Cardinals), 
The Louvre, Versailles, Marly, Jan Hagel, the Rhine, the Maas, La Ruelle, the 
Silver Fleet. 

The text is to the following effect : 

Conversation between the Moneybag, the Mitre and Bonnet. 
The Moneybag is delighted with Paris, which he calls Paradise, as containing 
all the splendour possible, and overtopping even Rome. The Bonnet sarcas- 
tically says : " My Friend, that is a very good name, for in Paris lives the old 



but one and his shadow ; the commissary probably did the like with regard to 
stores which he was bound to supply to the troops. 
II. I 



114 



WILLIAM III. 



Serpent, who ruined tin; whole human race." The two enter on a controversy 
and the Bonnet maintains the rights of the people, and the liberty of tl 
nations; he will not despise the lower classes, but thinks that every 
on-lit to act his part in the world in a becoming manner. 

The Mil re agrees with the Moneybag, and will soon teach manners 
those small braggarts and guildsmen. " Do you remember," says he, " ho\v y< 
felt the Spanish soap in the first part of the last century" ? The Bonnet s;i\ 
that he does not doubt the improvement of Mitre, as the honour of his tril 
and obligations to the allies, will induce him to change his mind. For the 
is German blood in his veins ; but the Mitre answers in the negative, after \vhi< 
the Bonnet says : " Our duty is to feed our sheep, to suffer wrong, to 
kindness, to shun the wicked, to stick to the Church Service, to hate war, to 
peace, to have no weapons but books, like good Catholics and upright Cane 
The Mitre orders the Moneybag to show his treasures, but the latter answci 
that he has not got anything but " Promises to pay in dozens." They wait fo 
ecus and pistolets. The Bonnet tells the Mitre a fable of Esop's, comparing tl 
Donkey to the Mitre. 

" The Ass being weary of doing his daily work in humility and suffering, woul 
no longer remain with the Peasant : he thought hunting was better for hit 
He went out with a Fox and a Tiger. They first start the game by means of i 
braying of the Donkey, and there was much caught. The Ass divided the pi 
into three parts, and took his own, but the Tiger devoured the poor Ass, and 
the new hunter was himself a prey." 

So all have been treated, if they hunted with their betters. I wish you 
better fate. 

The Ass was, probably, the French people, the Fox the Clergy, the Ti( 
was Louis XIV. 
5 x 3| in. 



1360. 

MAATROOZEN SAAMENSPRAAK TE PORT A PORT, BENEVEN; 
DE FABEL VAN DE KAKATOE, KUYKEDIEF, EN DEI 
HA AN. 

[The Sailors' Conversation at Port-a-Port ; with th< 
Fable of the Cockatoo, the Kite, and the Cock.] 
A Satire on Louis XIV. 



Volgens de Romense Copy. 1701. 
[By Romeyn de Hooghe.] 



[1700; 



THIS etching is on the title-page of a Dutch tract, No. 16, in " Esopus 
Europa", Amsterdam, 1701 ; see "^Esopus in Evropa", 1700, No. 1345. 

The etching represents four sailors on a quay, near a harbour; they 
listening to the discourse of one of their number, who, standing in their mids 
points to a picture of cockatoos and an eagle ; this is the Dutchman, 
described in the text of the tract, he wears a hat with feathers in it, a tight 
fitting vest or jacket, loose sleeves and breeches, stockings and shoes ; next t 
him stands a Portuguese sailor wearing a hood and having two books under hie 
arm; an Englishman sits on the ground, with his hand on a lar^e drinki ~ 
vessel (?), a tobacco-pipe lies at his feet. A French sailor stands on our le 
In the foreground is a broken cannon ; on a wall behind the Frenchman is 
pieture of a subject supplied by the following fable of an eagle destroy! 
cockatoos, and a cock with two young cockatoos. 



1 7 oo] WILLIAM III. 115 

The text contains references to Admiral Chateau Regnault, 1 the famous sea 
commander of France, many places on the globe, to Drake, Hudson, Wil- 
loughby, " Bexter", Petro Alvares Caral, Don Antonio of Portugal, Strozzi, Queen 
Elizabeth, Schomberg, Don John, Philip V., Henry of Besan^on, Alva, &c. 
The following is an abstract of the text : 

The Sailors' Conversation at Port-a-Port, with the Fable of the Cockatoo, the 
Kite, and the Cock. 

The Sailors are : a Portuguese, a Frenchman, an Englishman, and a Dutch- 
man. The Frenchman boasts of the Admiral Chateau Regnault, and the 
Portuguese answers him sharply, and calls the French sailors sea-toads. The 
Frenchman continues to brag, as if the whole world turned on the point of 
Louis's finger. The Portuguese reminds him of Vasco de Gama, and the famous 
mariners who went to conquer new and unknown countries. The Englishman 
and the Dutchman grant all this, but the latter begs to observe that the Dutch- 
man took possession of everything in India, in order to leave the Portuguese 
only Goa. The Frenchman boasts of the good marine schools of his nation, and 
enumerates those of Brest and Rochefort ; after which the Portuguese says that the 
voyagers of his nation discovered the West Indies, conquered Brazil and per- 
formed wonders. A dispute follows, and an enumeration of the stupid acts of 
the French. The three sailors unite in praising their respective countries, and 
in enumerating the treasons of Louis XIV. The Frenchman becomes angry, 
and tells the Dutchman that Holland is a country for a breakfast. The Dutch- 
man advises the Portuguese to take care of his possessions, as a time will soon 
come in which he will have to fight for them. 

The Dutchman asks his companions to listen to a fable, and three of the 
party drink healths, but not with the Frenchman. The fable is as follows : 

" There was a Cockatoo, whom the Cock and the Kite desired to make 
serviceable in helping them against the Eagle. They ask his assistance, 
promise him the Eagle's claws, and agree to make him King of Birds, as he 
was sufficiently handsome for that dignity, and well known in both the Indies. 
But the Cockatoo knew that the Cock was in love with his feathers, and that 
the Kite had many times already tried to strangle him : nevertheless he was 
undecided. ' What shall I do ? ' thought he. At length they agree that 
six young Cockatoos shall join the Cock, and that the latter should teach 
them to wear spurs. The Cockatoo had scarcely done this, ere the Eagle 
devoured one half of his young ones. The other half remained uneaten, as a 
pledge of alliance with the Cock, who shut them in his house, and our poor 
Cockatoo, childless, was eaten by the Kite." The Portuguese exclaims : " Ha ! 
ha ! Flamenco mio Caracoa, ik hed gevat. Vago con todos los diabos Francese " 
(Ha ! Ha ! my dear Dutchman, I have caught it ; go to the Devil, you French- 
man.) 

The Cockatoo was Portugal, the Cock France, the Kite Bavaria, the Eagle 
illiam III. of England. 

The conduct of Louis XIV. towards the Portuguese, and the suspicions enter- 
ed with regard to him by the other nations at the date here in question, 
supply the subject of this satire. 
4|- X 3| in. 

1 See " De Ban en Arrier-Ban in Zee", Oct. 12, 1702. 



116 



WILLIAM LIL 



[1700 



DE NAPELSCHE HENGST, VISSCHER, EN PIKEUR. 

[The Neapolitan Stallion, Fisherman, and (French) 
Horseman.] 

Defeat of the French in Italy. 



Volgens de Eomeinse Copy. 1701, 
[By Romeyn de Hooghe.] 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 17, in " Esopus in 
Europa", Amsterdam, 1701 ; see " JSsopus in Evropa", 1700, No. 1345. 

The etching represents an open space, with a fortress in the distance, befo 
which an execution is taking place. The Stallion is tied to a post, on which 
a royal crown and shield ; he is driven from behind by a rider with a whip. 
The Fisherman stands near the post, wearing sea-boots, &c. The " Pikcur", 
appears to have been driving the Stallion with a long whip, which he holds in his 
hand. 

The text contains references to Charles V., Masaniello, Cardinal Por 
Carrero, Queen Joanna, Alfonso V f , Charles VIII., Ferdinand, Gonsalvo 
Great Captain, the Testament of Charles II. of Spain, 1 the English and Dutcl 
fleets, &c. 

The following is an abstract of the text: 

The Neapolitan Stallion, Fisherman, and Horseman. 
The Stallion and the Fisherman are speaking about French tyranny, and 
latter tells with much vivacity how the French had been driven out of his count 
by Charles VIII., and how a Spanish King, Charles V., had reigned there, bj 
means of whom Naples had been under Spanish government. He finishes b} 
declaring that now the Neapolitans have full right to choose what govcrnim 
they like, as Charles II. of Spain had died childless. He says : " Nature create 
all men free, and with equal rights. Therefore he will never permit tl 
French to predominate in his country." The Rider (a Frenchman) makes 
boasting remarks, and the Fisherman tells a fable to encourage the Stallion: 

" Once on a time a handsome Mare lost her foals in a meadow ; now the "V 
then the Tiger devoured one. The Mare after this took such care, and 
so courageous, that her young ones were not taken any more ; but a Panth( 
instigated by a Tiger and a Lioness, attacked her behind, and made the bloc 
stream from her back and sides. She kept quiet, and said at length that si 
would sell her young ones for a small price, and at once the wild animals ct 
and expressed their desire to buy them. The Mare however said, that they mus 
chalk down the price on her hind hoofs, and on looking there, they received sue 
an awful blow with the hoofs, that they were nearly slain, and in a state of un- 
consciousness they were taken and skinned by the servants, so that their spier 
hides were left as memorials of their thirst for blood." 

The Stallion expresses his determination not to submit to any power, 
this resolution is much approved by the Fisherman. 
41- X 3i *. 

1 See " De Grooten Waereld Verdeelder", Nov. 1. 1700, No. 1340. 



J7 oo] WILLIAM III. 117 



1362. 

DE ONGERSE PALLASCH, DE BOERE CARAFFA, EN HOERENS- 
MEERDOOS. 

[The Hungarian Sabre, the Peasant's Caraffe, and the 
Harlot's Scent-box 1 .] 

A Satire on Louis XIV. 

TH 



Volgens de Romeinse Copy. 1701. 
[By Romeyn de Hooghe.] 



is etching is on the title-page of a Dutch tract, No. 18, in " Esopus in 
Europa", Amsterdam, 1701 ; see "^Esopus in Evropa", 1700, No. 1345- 

The etching represents a table on which stands a tall water-bottle, or 
caraffe ; likewise a casket with divisions inside, the lid being open ; a lady's patch- 
holder, formed like four saucers united, a convenience of the toilette, it con- 
tains face-patches of diverse shapes, stars, crescents, annulets, and disks. A 
bottle and a flask are also on the table, with a naked sabre, from which blood is 
dripping. A pitchfork and a flail lean against the side of the table. On the 
wall behind is a portrait of a young woman, whose bust is partly uncovered. 
In the distance is a battle; horse and foot soldiers are crossing a river on 
a pontoon bridge, and hastening to join the fight. A mounted trumpeter and a 
drummer appear nearer to us, sounding their instruments. 

The text contains allusions to Prince Eugene of Savoy, Montefiascone, 
Spanish red, Roman white, Charles IX., the Duke of Mantua, the Ckeveaux 
legers of Marshal Tesse. 

The following is an abstract of the text : 

The Hungarian Sabre, the Caraffe of the Peasant, and the Scent-box 

of the Harlot. 

This is a conversation. The Pallasch is very happy at having killed so many 
Frenchmen, and the parties speak together about real military courage and dis- 
cipline, and much praise is given to Prince Eugene of Savoy, who is called by 
the Pallasch the father of the soldiers, governing and loving them as his 
children. The Scent-Box next speaks about courage, and expresses esteem 
for a courageous man, but prefers to kill the enemy, and to be paid even 'by 
him for it, and relates how he had infected great numbers of Spaniards 
and Frenchmen ; how the former had brought over to Europe from the West 
Indies diseases and fevers, as a reward for their tyranny and their insatiable 
desire of gold. The Box claims therefore the honour to have done the most in 
purifying Italy from the bad Spaniards. The Caraffe brags of his heroic acts, till 
they hear the noise of a battle, and see that the French Camp is 011 fire, and 
that their enemies cross the Oglio, following the way to Fontanelle. They enjoy 
it very much, and leave each other in an exulting frame of mind. 
5 X 3| in. 

1 Probably, salve-box, patch-box, unguent-box, or dressing-case. 






WILLIAM III. 



[1700 



1363. 

DE FRANSCHE DEGEN, DE SLEUTEL, EN HET BONNET 
LUYK. 

[The French Rapier, the Key, and the Bonnet at Liege." 
A Satire on Louis XIV. 



Volgens de Romeinse Copy. 1701. 
[By Romeyn de Hooglie.] 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 19 in " Esopus ii 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents a table on which lies a sword, the blade and gui 
of which are enriched with coins, a satirical reference to the alleged pi 
tice of the French in the time of Louis XIV. to obtain victories in the field 
possession of strong places by means of bribery ; there are likewise a priest's 
Jesuit's square hat, with a tuft on the crown, and a large key. Over th< 
things hangs a curtain, embroidered vi\t}\fleurs-de~lis. At the side are a 
trap, with mice in it ; and a serpent. In the distance is a picture of the hai 
ing of the fox in the dog's skin, as described in the text of the tract, the sht 
lying dead within the fold, the anchorite tearing his hair, the neighbours rushii 
in. At the side is a view of a street in a city, a man riding to execution (? 
with his hands tied behind him. 

The text contains allusions to Louis XIV., James II. of England, Charles III. 
Spain, James III. i. e. the first Pretender ; the Emperor, the kings of England (^ 
Jiam III.), Sweden, Denmark and Prussia. The text is to the following effect :- 

The French Rapier, the Key, and the Bonnet. 

The first two speak about the great power of the French Rapier, and tl 
Key says that nothing is able to withstand the acute point of that weapon, uj 
which the Rapier says that gold and bribery are the two things not to be with- 
stood by any nation, and able to corrupt all persons ; the Bonnet mixes in 
conversation, and cites many instances of French faithlessness, of French cruelt 
and tyranny, expressing his wish, that the French may soon be oppressed by 
English and Dutch presses. The Rapier is very angry at these words, 
threatens prison and death to the Luyk (Liegeois), inhabitants, as they are 
rebels, according to the old proverb : " Whoever was born at Ghent, or was c<h 
cated at Luyk, having sworn to the Ligue, was making rebellion in his blood.' 
The Rapier gets into a fury on seeing the Key and Bonnet speaking togetl 
about himself, and he cries "Death and Murder" to both of them. The K( 
promises the Rapier that all his actions will end in ruin to himself, and tells 
following fable to that effect : 

" The Robbers, being in distress, and persecuted on every side, go to a 
Anchorite, in order to get new booty by him. The Anchorite had a Fox, ul 
putting on all kinds of skins, had sometimes visited the sheep-folds, plunde 
the Birds' cages, and led the Dogs into ditches and snares, The Anchorite, a 
of God, as it seemed, but a blockhead by nature and like a wolf in iisj)titit 
made a covenant wjth the Robbers, and brought them to his cell, where 
established themselves, because they found the place to supply good opportuuitii 
for attacks on the passers-by. The Fox, dressed in a dog's skin by the Anrliorit 
promised to take care of the stables of some Shepherds, and succeeded in bringii 
the Robbers to the stables, where they were attacked by all the neighbours ; tl 
Robbers bound the Anchorite, and hung the Fox in his dog's skin near the stabl 
which he had given up to treason." 



J7 oo] WILLIAM III. 119 

The Rapier says all this may be very true, but that, according to Seneca, that 
wise man, " the princes follow their pleasure and their will, whilst the other virtues 
are for the citizens, not for the king." 

4l- X 3* in. 



1364. 

PTOLOMEUS, COPERNICUS, EN MERKUUR OP DE PARNAS OVER 
DE ZON EN DE WAERELD. 

[Ptolemy, Copernicus, and Mercury on Parnassus, speak- 
ing about the Sun and the World.] 

Downfall of Louis XIV., the French Apollo. 



Volgens de Eomeinse Copy. 1701, D7OO] 

[By Roineyn de Hooghe.] 



' 

THIS etching is on the title-page of a Dutch tract, No. 2O in " Esopus in 
Europa", Amsterdam, 1701; see " Esopus in Evropa," 1700, No. 1345. 

The etching represents Louis XIV. as a very old man propped on crutches, 
wearing a wig, and having a youthful masque hanging from his neck, riding in 
a chariot, which is adapted to serve as a close-stool. This is the chariot of 
Louis's Sun, a meridian sun being a badge of the king's. It is driven by a haggard 
woman, " Maintenon " is written on the front of the vehicle ; a star burns on her 
forehead, this is styled " Stella Vespertina ". The horses are galloping furiously, 
the chariot seems to have come in contact with the World, the wheels are broken, 
and fly in pieces, so furious is the pace of the horses. Madame de Maintenon 
looks back at Louis, who hobbles on his crutches. An eagle, Germany, has 
seized one of the reins of the horses, a lion (Holland, or William III.) has 
clutched the other rein, a unicorn (William III.) gallops fast to their assistance. 
Behind, are some of the signs of the zodiac. 

The text contains allusions to Galileo, and many other philosophers, and 
to many of the medals which had been struck in honour of Louis XIV. 
and his victories. See " A Medal on the French Victory at Landen ", July 
29, 1 693, No. 1 290 ; " French Medal on the Defeat of William III. at Landen ", 
July 29, 1693, No. 1288. There are likewise allusions to the testament of 
Charles II. of Spain, see " De Grooten Waereld Verdeelder", Nov. 1, 1700, 
No. 1340; the eagle and the British and Dutch Lions. The text is to the follow- 
ing effect : 

Ptolemy, Copernicus and Mercury, on Parnassus, speaking about the Sun 
and the World. 

The opening scene is a dispute between Ptolemy and Copernicus on the revo- 
lution of the globe. The former says, "the Earth stands still, and the Sun 
moves ; " he tries to persuade Copernicus to believe this by citing new proofs of 
his theory. Copernicus asks him to mention these, and Ptolemy says " the French 
Sun has shown his beams on the Alps, the Po, the whole of Italy, the Mediterra- 
nean, and has gone round the world in one day, over the South Sea and back again, 
so that this is a proof of a revolution of the Sun round the Earth." If Coper- 
nicus doubted the truth of all this, Ptolemy will show him medals, poems and 
letters from famous men of all the countries of Europe ; but Copernicus begs to 
observe, that medals were formerly the proof-stones of history, but that they have 
become false and flattering ; that Poetry cannot be believed, and that letters of 
corn-tiers are not to be relied upon, being written by men whose fear and in- 
terests had active parts in the business. They agree to consult Mercury, who 
perceives at once that they speak of the French Sun, and says : " Yes, it is true ; 



120 



WILLIAM 1IL 



the Sun moves through the Zodiac as if he were mad. He came first to Virgo, 
then in Gemini, after that in Cancer, where he was pinched ; he singed Leo, bi 
broke his chariot there ; he visited also Sagittarius, Pisces and Aquarius, bt 
went quite astray there, and now he will go further on still. Mercury for 
that the Sun will soon be stopped by the other powers. Mercury further 
how Louis is like an old man without any strength, and, as an instance of his 
disposition, he quotes the following verses : 

" Que Vunivers surpris, 

Condamne V amour extreme, 

Lui conte tant de peines, 

De larmes et de cris" 

while their principle is : 

" Quand on obtient ce qu'on aime, 
Ou importe, qii! importe a quel prix" 

So Mercury thinks that the World will soon begin to turn again, when 
Sun will be stopped ; and his conviction is : " Vis consilii expers, mole sud ruit' 
4f- X 3| * 



DE LEUTERBOL VAN DIEST, DE HOND, EN DE PIKBROEK, BI 
DEN LAATSTE STUYVER. 

[The Man of Diest, the Dog, and the Sailor at " Th< 
Last Penny".] 



Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 



[1700] 



THIS etching is on the title-page of a Dutch tract, No. 21, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see " JEsopus in Evropa ", 1700, No. 1345. 

The etching represents a Dutch sailor laughing at and rebuking the co\vanli< 
of the " Leuterbol " (? Skulker) of Diest, who, terrified at the fall of a shot 
him, is, with his dog, running away at the sound of cannon, that issues from 
fort, the Las van Ghent, which is in the mid-distance ; in the distance is a cit 
Ghent. The dog has a medal hanging from his collar, and bearing a fleur-de- 
lis. The sailor points to a picture representing two lions hunting a tiger, 
described below, and two eagles chasing a tiger. One of the lions is that 
Holland, the other that of England, both representing William III. The 
is France, Louis XIV. The garland of a drinking shop, and a pitcher wl 
hsings on a sign-post, are behind the picture, indicating a tavern. 

The text contains references to the French king, and the conduct of 
French invaders of the Low Countries, the Maas, Mechelen, the Scheldt, Ost 
the Y, the Thames, Gibraltar, the Gulf of Lepanto, the Tinncpot of Antwe 
the Mannekenpis of Brussels, the English commanders, &c. The text is to 
following effect : 

The Man of Diest, the Dog and the Sailor. 

The man runs away from the town with his dog, because the Frei 
intend to tax the dogs and to enlist the inhabitants. Then follows a cor 
it ion between the Man and the Sailor, in which the former tells the pi 
which the French have to make a naval town of Diest ; but the sailor, who 
(. idcntly a Dutchman, laughs at the foolish idea, and the dog philosophizes on 
folly of men who take such a great interest in possessing money. The man be 



, 7 oo] WILLIAM III. 121 

to hear thunder, and it turns out to be the sound of the cannon from the Las van 
Ghent, which had troubled the French so very much. The Sailor laughs and 
mocks when he sees the Man running away with his Dog, in order to escape the 
balls, and the Man threatens the Sailor with his revenge for this scoffing. The 
Sailor tells the following fable : 

" An old Tiger tried to become the chief of animals, and engaged, 
therefore, three useful animals in his service. The first was a Marmot, 
which was to climb over the Alps, and show him the way to the valleys. The 
second was a Hedgehog, which he made carry his prey ; and the third was a 
Squirrel, which he made climb in the trees, in order to discover what was below. 
Thus he had taken a Lion, and hoped also to get the mastery of the Bear, 
Elephant, and Eagle. Scarcely, however, did he come near the den of another 
Lion, than he is attacked by the King of Animals. The Eagle sits down on his 
back, and picks out his eyes ; the Tiger promised in vain to be faithful to old 
contracts. The other animals knew all about his faithlessness, and did not rest 
until they had shortened the claws of the treacherous beast." 

The marmot was Savoy ; the hedgehog, Bavaria ; the squirrel was, probably, 
Cologne ; i. e. the latter two were the respective Electors, and both allies of 
Louis XIV. ; the bear was Sweden ; the elephant, Holland ; the eagle, England ; 
the second lion, Spain ; the tiger, France, 

4f X 31 in. 






1366. 



E ITALIAANSCHE WAARZEGGER, ESOPUS, ANTONIO MAGINO, 
EN DIRK REMBRANTZ VAN NIEROP. 

[The Italian Wizard, Esop, Antonio Magino, and Dirk 
Rembrantz van Nierop.] 

Volgens de Romeinse Copy. 1702. T 1 ? 00 ] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 22, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700? No. 1345. 

The etching represents Esop, with a hunchback and crutch, grinning and 
pointing in the air to the fall of the chariot of the sun, that of Louis XIV. 1 
The three savans mentioned in the title are in the background ; Van Nierop uses 
a cross-staff as he takes an observation of the descent of Louis ; the wizard is 
regarding the same event by means of a prismatic mirror, apparently not unlike 
a camera lucida, which he holds to his eyes ; he is an old man, wearing a cap 
and huge spectacles. Antonio Magino wears a doctor's gown and cap ; his 
back is towards us. In the distance is a large telescope on its platform of 
brick ; three men are making and recording celestial observations. A picture, 
placed behind Esop, shows the fable of the Eagle's descent among the birds, as 
described in the fable which is cited below. Below the picture is the chrono- 
graph, " Magno apoLLIne DeleCto", a prophecy for 1702. Apollo was 
Louis XIV. 

The text comprises a calendar of events (see below) predicted by Rembrantz 
van Nierop, taking the course of European politics month by month, and in- 
cluding events in the Alps, Lombardy, Bavaria, Naples, Calabria, Messina, the 
Lambre, Maas, Italy, the West Indies, &c. The text is to the following effect, 
and concludes with the above chronograph repeated :- 

1 See " Ptolomeus, Copernicus, en Merkuur", &c., 1700, No. 1364. 



122 



WILLIAM III. 



The Italian Wizard, Esop, Antonio Magino, and Dirk Rembrandtz van 

Nierop. 

Esop and Antonio accuse each other of cheating men; the former savs t 
it is not possible to read the fate of nations from the stars, and Antonio observ 
that it is still more monstrous to make animals speak to each other. Now t 
are going to show their art, and just as Esop is going to tell a fable, Van Xi< n> 
Nostradamus, Merlin, and Breville arrive. Esop has the following fable: 
"An old Capon had taken all kinds of eggs in his nest, and he sat down u 
them, so that soon all kinds of young birds filled his nest. Here was a Spam* 
Hawk, there a Cuckoo, and also a Kite. Now the Capon began to put them all 
the nests of other birds; he placed the Kite in the nest of the Indian IJav 
and a Sparrowhawk near the Lombardian Hens. He thought to drive 
Cockatoo from his nest by placing a Kite in it, and he gave to the Turki-y- 
the direction over the Water-Fowls ; nay, he adorned the Cuckoo with f bathe 
till he seemed to be an English Cock. But now the Eagle (Jupiter's bird) 
angry, and he took all the intruders out of the nest, and deprived the Cuckoo 
his feathers. Now the Capon hid himself under the feathers of his Hens, an 
tried to escape the fury of the wronged animals. There he sat, and durst 
crow, for fear of discovering his retreat." 

Van Nierop describes the course of the French Sun for the followin 
year, and shows satirically how the Sun passes successively through the signs 
the Zodiac, and is pinched, bitten or attacked by the different conste.lla tin 
which bear the names of animals, and he suffers very much from the horns 
Aries, who follows him wherever he goes, so that at length in December the Sun 
is so very much maimed, that without a mask he is not to be recognized. Ksop 
says that their predictions do not differ much, and so they leave, after having 
wished each other health in the new year. 

The Capon was Louis XIV., the Kite the Duke of Anjou, or Philip V. of 
Spain, the Sparrow-Hawk the Elector of Bavaria, French General in Lombardy ; 
the Cockatoo was Spain, the Cuckoo was the first Pretender, the Eagle was William 
III., the Capon's Hens were Louis's mistresses, see " La lletraite de Louis XIV., 1 
June 12, 1693, No. 1287. 

4f X 3f. in. 



1367. 

MET HEYDINNETJE, DE MIQUELET, EN MOOYFRAAYKIEK, I; 

DE PlRENEEN. 

[The Gipsy, the Miquelet, and Look-always-well, in tl 
Pyrennes.] 



Volgens de Romeinse Copy. 
[By Romeyn de Hooghe.] 



1702. 



THIS etching is on the title-page of a Dutch tract, No. 23, in " Esopus in 
ropa", Amsterdam, 1701 ; see " ^sopvs in Europa", 1700, No. 1345. 

The etching represents the three persons named in the title standing in a 
landscape, and conversing. The gipsy is an extremely ragged and miserable 
woman, who is speaking. The Miquelet is a tall fellow, with a very long rapier, 
the point of which rises over his shoulder. Look-always-well (? Time-server) is 
a ra-j-red man, who wears wooden shoes. In the mid-distance is a picture repre- 
senting the Tiger (France) and the Fox devouring the Owl, according to 



i 7 oo] WILLIAM III. 123 

fable which is cited below, and the Eagle chasing other birds. In the distance 
is a town among mountains. 

The text contains allusions to the Great Captain Gonsalvo, Charles V., 
Francis I., Louis XIV., the Duke of Savoy, &c. The following is an abstract of 
the text : 

The Gipsy, the Mignelet and Look -always -well in the Pyrenees. 

There is talking about the French and their monarch, how they give the 
lie to all their covenants, and how they cheat and deceive and tyrannize. The 
Mignelet is a Spaniard, and Look-always-well, seems to be an Italian, who 
says that the Duke of Savoy does not like dangers, and tries to howl with those 
that have got the mastery. The Miquelet tells a fable to show all the disadvan- 
tages of such politics : 

" The other animals had a Avar with the birds. The Bat enjoyed the 
favours of both the parties ; he showed his wings to the birds and asked 
their protection when the beasts attacked him, and showed his hairy skin to the 
other animals, if he was persecuted by the birds. In the meantime he made 
himself merry with the food of the others, and devoured the eggs of the birds. 
Just then a Weasel got hold of him. He tried to fly away, but a young Eagle 
took him and he was quite torn to pieces." 

Look-always-well expresses his conviction that there is no fear, as the French 
are powerful enough to overcome all possible enemies, upon which the conversa- 
tion concludes with a remark of the Gipsy, that the French will be obliged to 
read matins in Naples, to attend mass in Sardinia, and to sing vespers in Sicily, 
in order to make them more pious and virtuous. 

Thus they were taught before, 

That fate will befall them again. 
X 3i * 
1368. 

OPERA VAN ANDROMACHE TE MILAANEN. 

The Opera of Andromache at Milan.] 
Defeat of the French. 

r olgens de Romeinse Copy. 1702. [!70O] 

~ly Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 24 in " Esopus in 
Europa", Amsterdam, 1701 ; see "^Esopus in Evropa ", 1700,^0. 1345. 

This etching represents a part of a stage, with spectators in front of it. 
These are Scarronie (god-daughter of Madame de Maintenon) who is talking to 
Court-feather, an old gentleman with a very large wig, carrying a hooked stick, 
and wearing a cocked hat and plume ; Spadalonga is violently gesticulating 
behind Court-feather, who restrains him. Lazaril is on the other side of the 
design, and seems to be describing the play or opera-scene which is represented 
as showing (?) the overthrow of the chariot of Andromache (the Dukedom of 
Milan), with the descent of the Sun of Louis XIV. and his sham-thunders. 
Behind is a view of part of a city, Milan. 

The text contains references, besides those named below, to the " Bastard 
van Jakob", probably the first Pretender, or the Duke of Berwick, son of James 
II. of England, &c. The text is to the following effect : 







WILLIAM III. 



124 W1L.L.I.AJ.VL J.J.I. [1700 

The Opera of Andromache at Milan. 

Scarronie, Spadalonga, Cock's -feather (who is a German), Lazaril, 
come together from the Opera. 

The conversation is carried on by Scarronie, Lazaril and Spadalonga, 
have had parts in the opera, and by Cock's-featlier, who has listened, 
players seem all to be of foreign origin, and they have only attended to 
opera because either fear or want made them leave their own countries. N ;,,- 
ronie gives part of her biography: "My father served in a nobleman's house. 
The chambermaid of the lady was my godmother, and she married a man whose 
money brought her into a better condition of life. I was taken by her into her 
house, and she called me Scarronie after her husband. I had not seen my 
god-mother for a long time, and found her at court, raised in rank above all 
others ; I thought that my fortune * etait faite\ and I called her by her old 
name, but this was the very cause of my fall, for people who have been i 
into high rank hate those who have known them in a lower state. She did 
not recollect that she had been born of a harlot and a soldier. Such was the 
proud M me . de Scarron Maintenon. And so I have returned to the 
where high-placed persons meet their courtezans in the night." Coek's- 
asks an explanation of the opera and of the representations, and Scarronie 
Lazaril tell the following : " The first representation shows Troy, where Hec 
Andromache's husband, is dragged round the walls. She tries to escape wi 
her son, but she is made a prisoner. The second subject, the army of 
Greeks ; after that, sacrifices with the sly Priests, and then the court of Epiru 
then Pyrrhus is killed by Orestes ; Andromache is proclaimed queen, her 
becomes a king, and all the Gods appear ; Jupiter is brought on earth, And 
maches son is carried about in a triumphal-car, she is made a Goddess, 
other poor Trojan boys are presented with kingdoms. 

" Louis le Grand, the father and master of all the kings, who, when he 
rich, lived at Paris in the Louvre, and who is now Grand Roy Campagnard 
Versailles, is represented by Jupiter ; the Dauphin by Apollo ; Charles, the 
Spanish Monarch, is Astyanax ; Andromache is the Dukedom of Milan ; Pyrr 
is the Emperor ; Chalchas is the Pope ; Hector is the deceased King of Spai 
Hermione is England ; Orestes is the English King (William III.), 
Bocajus is the new-made King of England, i.e. the first Pretender. So I have 
devised the different parts." 

Now Cock's-feather tells how many times Milan has been evacuated by 
French, and how the dukedom is now a feudal tenure of Austria's, the heir 
the Spanish possessions. Spadalonga advises Cock's-feather to look behind 
scenes, in order to be surprised at the fritter-gold and fringes of Jupi 
Apollo, Hector, Andromache and Astyanax, who have not even a shirt 
cover themselves with. Scarronie tells how a great misfortune haj 
yesterday, when Jupiter's powerful arm was totally broken by the fall of 1 
mache, and how the hearers were dissatisfied. After many ridiculous 
having been told about Roman Catholicism and the French King, Sea 
recites a verse, which is in French and Dutch. 

Cock's-feather finishes by saying how much his countrymen, the Germa 
advance every day, and how they drive the French into a small space. 

The new Spanish monarch was Charles III., see " Portrait of Charles 
of Spain", June 27, 1 706. The desceased king of Spain was Charles II., see * 
Grooten Waereld Verdeelder", Nov. 1, 1700, No. 1340. " Bocajus," the 
made king of England, was the first Pretender, proclaimed king of 
by Louis XIV. on the death of James II. 

5 X 3| ' 



, 7 oo] WILLIAM III. 125 

1369. 

DE HORLENDE KOLLENDANS, OP TlLBURN. 

[The Dance of the Club-footed Witches at Tyburn.] 

Volgens de Romeinse Copy. 1702. E 1 ? 00 ] 

[By Romeyn cle Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 25, in " Esopus in 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents Tyburn, the hanging place of London, as a gallows 
on a hillock, with, suspended from it, a bunch of corpses ; also a pole, from 
which is pendent a corpse in chains; behind is shown the beheading of a man 
who kneels at a block ; six human heads are placed on poles over a gate in the 
distance. 1 In the front two witches are within a magic circle, Hecate, one of 
these, rides a goat, whose horns are forked ; she has three faces, a naked breast, 
an eagle's feet ; she holds a torch in one hand and a sharp hook in the other ; 
she seems to be screaming very loudly. The other witch is on foot, but is 
bestriding a broom, her feet are those of an eagle, her petticoat is embroidered 
with fleurs-de-lis, she is naked above the waist, and has a cock's or raven's 
wings ; a mask hangs at her girdle, and she carries reels of thread, or cords, 
which are attached to short pieces of wood. This is probably meant for Nemesis, 
see below. 

Prostrating himself to Hecate is a spirit with four wings, he does not go 
within the magic circle. This is Busy-Body, (see below). The other personage 
of the fable (see below), is named Turbulent Spirit, who appears here as a black, 
naked female, with eyes and mouth of fire, and flames instead of hair ; she is 
furiously ringing a bell and flourishing a handful of serpents ; a bellows hangs 
from her left wrist. Outside the circle appear various animals, cats, mar- 
mots (?), bears, a tiger, &c. These are emblems of the Powers of Europe. 

The text, besides those mentioned below, contains allusions to " Madame 
Jobin" the Count de Gabalis, Bytebauwen, Schatbewaarders, Ireland, Piedmont, 
Westminster Hall, the English royal house, the Thames, the French Sword (see 
the etching), Madame de Brinvilliers, the testament of Charles II. of Spain, 
see " De Grooten Waereld Verdeelder", Nov. 1, 1700, No. 1340, writings in 
cipher, French harlots and " Baladyns", Newgate, the " little bastard", '. e. the 
first Pretender, c. 

The text of this print is as follows : 

The Dance of the Club-footed Witches at Tyburn. 

Hecate, Nemesis, Busy-Body and Turbulent Spirit assemble ; the text opens 
with the complaints of Hecate and Nemesis, that witchcraft is no longer respected 
in Europe, and that times are very bad, but Busy-Body soon stops them by 
citing many instances of superstitions which still obtained. He cites as the 
cause of belief in witchcraft : fear, which some have from education, others 
from reading or hearing, and some through remorse of secretly committed 
crimes. As instances of such superstitions are cited, the White Wife of Toscan 
(Tuscany ?), Mantua and other royal houses ; the Burning Postilion with his 
horn in the woods ; the Devil of Blokula, in Sweden ; the Butter- Witch of 
Paderborn, &c. Moreover, many people still see corpses walking about, and 
others hear mountain-spirits and hobgoblins. Busy-Body adds, that the 
whole of Europe would soon be under Hecate's authority, if she succeeded in 

1 A sword of coins, see " De Fransche Degen", &c., 1700, No. 1363, is drawn 
on a hurdle, as if it were going to disgrace and death. 



126 



WILLIAM III. 



introducing herself into England and Holland. Busy-Body, proud of his quic 
ness, enumerates his glorious acts ; how he has conspired forty-eight times against a 
king, William III., for his ruining the kingdom by his religion ; how he has 
assisted Nemesis and the Turbulent Spirit in making crowned heads lie down I 
on the block ; how the Gun-Powder plot was of his forging. 

Hecate agrees that this is all very well, but says that assistance is required 
from the Great Cock (Louis XIV.), and she pronounces a eulogy on the tyrant 
who tramples upon the rights of kings and peoples. 

The riding on broomsticks begins, and the witches pass over Naples, hopi 
to do something evil there. 

In the end we find the witches back at Tyburn, and referring to Tow< 
Hill, where Busy-Body has distributed all kinds of lies and pamphlets ajraii 
the ruling Power (William III.) But he has scarcely told it when the Turbulc 
Spirit comes, trembling all over, and advises them to escape as soon as possil 
He tells them how all his efforts to sow discord in England have been wn-ck( 
on the unity and liberality of hearts and opinions. " Oh ! a diamond chain bii 
together the hearts of the king and his people." They hasten away in 
speed, Hecate leading the flying band. 

5 X 3% in. 



1370. 

DE JONGE KOEKKOEK ONDER DE KROONVOGELS. 
[The young Cuckoo among the Crown Birds.] 
The rejection of the Pretender. 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 26, in " Esopus 
Europa", Amsterdam, 1701 ; see " .ZEsopus in Evropa," 1700, No. 1345. 

The etching represents the top of a cliff above the sea, where a young cuckt 
is being trampled to death by " Crown birds", these birds Romeyn de Hoogl 
has made to resemble ostriches, and very big and strong ; the cuckoo has b( 
thrown out of a nest. More crown birds are hastening up the cliff : below, 
sea is shown with a fisherman's boat and men in it. 

The text of this tract is as follows in abstract, and very rich in personal ar 
political allusions, including among the individuals named Lady Tyrconnel, tl 
Marchioness of Powis, a noted adherent of the cause of James II., the Nunci 
Cardinal Dada, Father Petre and the alleged intrigue between the queen 
these priests, her failure to obtain a son, see " The Warming Pan", No. 11, 
the birth of the Pretender and the alleged fraud which attended it, Lord 
cellor Jeffreys, the Duke of Monmouth and his rebellion, " Patrec a Miller", 
Pretender, Graham, Lady Jeffreys, the palaces of James II. of England, Whit 
hall, Windsor, Hampton Court, Richmond, and St. James's, Lord Sunderl 
the Plots, the " Lorrekoningeje," and " de jonge koekkoek." 1 

The text is a conversation, to the following effect : 

The Young Cuckoo among the Crown Birds. 

The Irishman, the Courier, the Wirryman 2 and his Boy, enter on a coi 
versation, between the first two, in which the clergy are satirized for the 



1 The " Parrot Prince" and the " Young Cuckoo." 

2 The Ferryman ? 



, 700 ] WILLIAM III. 127 

love of women. Entering on political news, the Irishman expresses his 
conviction that all will soon be right, as the "Great Louis" has proclaimed 
their young prince (James II.' s son) as king, and " you know, when Louis wills 
a thing, the rest must dance after his tune." 

Both expatiate on the common practices of telling lies and perjury, preva- 
lent in Ireland and France, and they tell how the people had been prevailed on 
to believe that the young prince (Pretender) was really of royal origin. The 
Courier says he made all the courtiers believe the fact, and the Irishman adds 
that the young prince is a son of his cousin, a miller, but he says, that his 
firm belief is, that the Lord governed things in that manner, to propagate the 
holy Catholic faith, to which belief the Courier also sticks firmly. The tale 
of the queen's delivery of a daughter instead of a son, is amply related by the 
Courier, who was well rewarded for all his pains in regard to that transaction. 

The Wirryman (a Skipper) and the Boy cannot help expressing anger, but 
they do not fight with the Papists, as there are eight of them in the boat. 
The Wirryman tells the following fable of a Cuckoo (James II. 's son) : 

" The old Cuckoo was proud, and in order to raise his young one above his 
birth, he put the egg in a Crown Bird's nest. As soon as the egg had been 
hatched, the Crown Birds saw at once how they had been deceived, and turned 
the young Cuckoo out of the nest, whilst the other young Crown Birds tore the 
Cuckoo to pieces." 

So will it be with the miller's-prince, and parrot-king. 

5 X 3fi. 



NEBUCADNEZARS BEELD TOT VERSAILLES TEN TOON GESTELD, 
OM TOT MADRID OPGERIGT TE WORDEN. 

[Nebuchadnezzar's Statue exhibited at Versailles, in 
order to be erected at Madrid.] 

J* 

THIS < 



r olgens de Eomeinse Copy. 1702. [1700] 

Jy Romeyn de Hooghe.] 



s etching is on the title page of a Dutch tract, No. 27, in " Esopus in 
Europa", Amsterdam, 1701 ; see " Esopus in Evropa," 1700, No. 1345. 

The etching represents a statue, that of the Duke of Anjou, or Philip V. of 
Spain, grandson of Louis XIV., sitting in French robes, with a huge wig and 
lapels to his coat, under a canopy of state, which is supported over a dai's by 
caryatides, or rather, terms, representing young French women. The canopy is 
surmounted by the meridian Sun of Louis XIV. and inscribed " CREATOR REGUM 
AD SONUM TYMPANI ADORATE REGUU." Many men prostrate themselves before 
the statue, one kisses its foot. In the foreground the persons named in the text 
are grouped, the Academician in his robes, the Court Lady seated, the Bendvogel 
standing behind the latter. A lap-dog barks at the statue. 

The satire refers to the proclaiming by Louis XIV. in Paris of the Duke 
of Anjou as Philip V. of Spain, before the latter departed for Madrid; the War 
of the Spanish Succession followed this ceremony, and William III. and England 
and Holland, and other powers, were arrayed against France and her allies ; see 
"De Grooten Waereld Verdeelder," Nov. l, 1700, No. 1340; "The Duke of 
Anjou stealing the Spanish Crown", Nov. 1, 1700, No. 1343- 1 

1 See Smollett's account of the speeches of Louis XIV. on this occasion, 
"History of England," chap. vi. 37, 38, 39. 



128 



WILLIAM III. 



The text contains references to Rome, Holland, England, Monsieur 
Casserolle, &c., and is to the following effect : 

Nebucadnezzar's Statue, exhibited at Versailles, in order to be 
erected at Madrid. 

The Bendvogel (a name for a Member of the German Society of painters 
Rome, or other Italian towns), the Academician, and the Court Lady. 

The Bendvogel says to the Court Lady, that he will go back to England 
Holland, as professors of the arts and sciences are not paid well enough in Paris, 
but the Court Lady tells of a new master-piece, made lately, and the Acs 
mician, who arrives, gives an explanation of the famous Statue. He obser 
first, that the whole "Assemble des Savants" had exhausted all their talents 
explain the work. Round about it were, as they said, eight statues, represent 
four Christian Virtues Religion, Piety, Wisdom and Holiness ; and four 
virtues Courage, Justice, Constancy and Liberality. But if one looked clos 
one perceived those Virtues to be eight courtiers : La Valliere, Mecklenl 
Ventadour, Montespau, Mazarin, Fontagnes, Maintenon and York. The 
Sun on the top suffered an eclipse. The four feet of the chair were of small 
representing the Puppet-Kings of Poland, Spain, Britain and Austria, 
were wide open, and his mouth was shut, on account of his not being able to 
teeth. The dai's, on which stood the chair, contained representatives of all 
nations of Europe, asking from him grace, and chanting his praise. After 
remarks, in which it is remembered that those who erected statues for 1 
selves, never have them erected by posterity, instances of this having 
given in the Duke of Alva, Pisistratus and Nebuchadnezzar, the Academici 
proceeds and describes the rest of the pageant. The canopy of the chair 
covered, not with stars but with lilies, it was covered round about with gil< 
medallions describing the king from his birth till now, beginning with 
Mazarin, with this writing on the Heine Mere : Le cardinal monte d Vane. 

The last medallion shows the monarch sleeping, his head leaning on his hj 
and with these words: "Si Von reveille" or, "Woe to him who wakes hi 
The Courtier says, that two things have been very prejudicial to Louis XF 
1. The spreading about of William's death on the Boyne, 1 by which Louis 
himself to be afraid of his opponent. 2. The proclaiming the Pretender 
Prince of Wales as king, which strengthened the ties between William 
his people. She (the Court Lady) leaves them, advising them to say nothing 
what had been told, and assuring them that she had been deaf." 

4 X 31 in. 



1372. 

D HOBBEL IN DE WACHT, OP DE HAASEJAGT. 
[The Eagle on the Watch, hare hunting (?).] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 28 in " Esopus in Europa ' 
Amsterdam, 1701 ; see " ^Esopus in Evropa", 1700, No. 1345. 

The etching represents a chamber or part of a summer house, through 
windows of which a view is given of the exterior. On a couch in the room 
a young lady, who wears a <?ttas?'-conventual costume, and is weeping violrnth 
she appears to have been in close conversation with a young man (probat 

1 See " Reported Death of William III." (No. i.), June 30, 1690, No. 1241 



, 7 oo] WILLIAM III. I2p 

meant for Louis XIV.), who turns eagerly from her in order to converse with 
another damsel, who, with a handkerchief at her face, enters the room. Outside 
the building are illustrations of the fable which is told below. 

The text contains allusions to Louis XIV., Madame de Maintenon, " onze 
Mocder van Jubilatie ", " Heilige Vrouw Moeder Fundatresse ", Prince Eugene, the 
progress of the War of the Spanish Succession, Marshal Catinat, Hungary, Marshal 
Tesse, the titles and dignities of Marshal Villeroi, which are cited ironically, the 
king's " Amourettes ", the Prince of Wales, i. e. the first Pretender, London, &c. 

The substance of the text is as follows : 

The (Hobbel in de Wacht) (probably the Eagle on guard) hunting hares. 

Perine, Therese, Monsignorin, in the refter (perhaps a part of a building ?) of 
the pupils of Maintenon. 1 

Perine and Therese are very angry, as King Louis pays more attention to 
the novices than to them, and Monsignorin can only appease them by relating 
Louis's misfortunes in Italy, and the advances which the Germans had made in 
the battle-fields, driving out the French everywhere, so that instead of saying 
in the future : " H est pris en Allemand", people ought to say : " II est pris en 
Frangais" She tells how Villeroi is a prisoner of the Germans, and sent to 
Vienna, in order to command there the 2OOO French, who work in the mines of 
the Seven Mountains. Perine, whose father is a cousin of Villeroi's, expatiates on 
his merits and wonders at his misfortunes. 

Now Monsignorin proceeds to tell the particulars of Villeroi's imprisonment, 
and relates how on January 31 the Germans took Cremona, where Villeroi, 
trying to escape, was seized, with 7000 men (French and Irish). She tells 
also that she escaped, because she was able to speak German, and she cannot 
avoid observing that the valiant Germans have surpassed the Romans, nay 
themselves. But Therese finds this is not so very fabulous, and begs to tell the 
following fable : 

" The Cats lived peaceably together, when the Foxes came, and destroyed 
many of them, whilst the poor Cats could not defend themselves, as they had 
for their chief a Hare, who ran away at the very moment of the Foxes' arrival. 
But an Eagle got hold of the animal and made him a prey of his young ones. 
However, the crying of the Cats awoke great Irish Blood hounds, who came to their 
help, and the Foxes ran away, happy enough to be able to escape with some prey : 
but since then the Cats were wise enough not to take again a Hare as their chief." 
5 X 3J- in. 



1373- 

EUROPE NOOIT VOOR EEN. 

[Europe not the property of one King.] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 29, in " Esopus in 
Europa ", Amsterdam, 1701 ; see "^Esopus inEvropa", 1700, No. 1345. 

The etching represents a landscape, in the foreground of which a tiger 
(France) is struggling in the powerful grasp of a lion (William III.), who cuts 
the claws of one of his paws with a pa,ir of shears, while a fox does the like with 
respect to another of the paws. Two lions are advancing to aid their fellows. In 

1 The School of St. Cyr. 
II.' K 



130 



WILLIAM TIT. 



[1700 



the background appears a fort or stockade, the; residence of the tiger, \vho is 
seen, as required by the fable, (see below,) in the act of casting the lnwl of u 
panther over the wall. On a hill beyond, many animals including a horse, two 
gouts and a bear, are dancing about a may-pole, which is surmounted l>y palms. 
A monument is on our right ; on this is written " Sic PAX CUM TIGKIBUS ESTO." 
The text contains allusions to the alleged desire of Louis XIV. for universal 
dominion (see " The Tomb of Universal Monarchy", Sept, 7, 1706), the Peace 
of Munster, many kings of France and emperors, the Treaties of Ryswiek 
and Nimuegen, the testament of Charles II. of Spain, see " De Grooteu WaereM 
Verdeelder" Nov. l, 1700, No. 1340. The following is an abstract of the 
text : 

Europe not the property of One (King). 

A Conversation between Death, Destiny and the Intriguer. 

The Intriguer comes to ask from Destiny and Death what will be the end of 
the war, which has come in the place of that beneficent peace, which it was 
hoped would last eternally. 

Destiny tells of Europe, as being often threatened with the tyranny of one 
prince, but soon this will be for the ruin of those pedantic schemers. Destiny 
is very angry with the Spaniards and French, who have often acted, as if the 
whole of the world was theirs, and the Intriguer knows something about the 
boasting of the Spaniards, who could not understand that there was any country 
outside Spain. Death has also much to tell about the boasts of Popes and 
priests ; Destiny says that Caesar, when marching far into Germany, was hemmed 
in so that the Emperor Augustus lost his whole army under Varus to the Teuto- 
burgh Woods. Reading modern history, Destiny observes that Louis XIV. is 
quite outdone by William of Orange, whose ami is to deliver Europe from the 
French claws. The Intriguer philosophizes on the passions of men, and remembers 
sadly how many times an eternal peace had already been made, which was 
broken almost as soon as concluded. Destiny will not give any answer to the 
direct question of the Intriguer, whether there will soon be peace, -but Death 
tells the following fable : 

" The Tiger assisted by two Panthers has attacked the other animals, and 
destroys many of them. The poor persecuted creatures go to the Lion and the 
Eagle for aid, and the Tiger, distressed on all sides, kills as victims both the 
Panthers, and throws their heads before the Lion and the Eagle. But both the 
latter are not satisfied till the Tiger has lost his claws and his teeth, in order to 
secure themselves against his ferocious attacks." 

The Tiger was France, the Lion William III., the Eagle the Emperor, the 
Panthers were Savoy and Bavaria, allies of Louis IV. 
5 X 3f * 



1374. 

GEDWONGE MARS, GAAT ALT YD DWARS. 
[A forced March goes always sadly.] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 30, in " Esopus in 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents a tiger (Franco) struggling on the ground, and torn 
by other beasts, including wolves and dogs. Men are rushing to help the 
assailants. A farmyard is in the distance. 

The text contains allusions to the Marquis de la Foutriere, the Spanish 



i7ooj WILLIAM IIL 131 

gallions, the Dutch, English, the Emperor, the Pope, Amsterdam, France, Louis 
XIV., William III., Prince Eugene, Marshal Villeroi, &c. 
The following is an abstract of the text : 

" A compelled March goes always sadly. 
A Conversation between the Lacquey, the Rake, and the Boor. 

These are three men who have escaped from their country. The Boor comes 
from Belgium, and gives an account of the practices by which the French enlisted 
soldiers there, he having fortunately escaped. On a certain morning, while 
people were in church, the French assembled round the building, and picked out 
the half of the men, and assigned by lot which of the two parties was to en- 
list. Moreover, the three speak of money which the French expect from 
Peru, but which will never arrive, as the Spaniards had locked up all the gold 
that is to be found there. The Netherlands is rich enough, says the Rake, and 
tells how Amsterdam alone possesses greater wealth than the whole of France. 
General praise is lavished on William III. of England and Holland, who is sol- 
dier and general at the same time, who commands during the day, and projects 
plans during the night. Eugene of Savoy shares in the honour of being praised 
for the terror which his victories have spread everywhere. The one speaker 
knows still more tales than the other about the bad condition of the French 
army, and the treason in it ; how all the soldiers are forced to do their duty, 
while in England and Holland pure patriotism leads the men on to victory. 

The Rake tells the following fable: "An old Persian Tiger laid plans to 
devour all the animals in the meadows. Two Wolves join him, and they take 
also some dogs, in order to assist them. They attack cows and sheep, and the 
Peasants arrive with their dogs and sticks ; the Wolves and the Tiger untie the 
dogs, which they had caught, but, instead of being assisted by them, they are 
attacked by their dogs as well, and -their own dogs bite and tear them." 

5 X 3i 







1375- 

ET CREMONEESCHE VREUGDEVUUR. 
[The Bonfire of Cremona.] 

Volgens de Romeinae Copy. 1702. 
[By Romeyn de Hooghe.] 



THIS etching is on the title-page of a Dutch tract, No. 31, in " Esopus in 
Europa," Amsterdam, 1701 ; see "Esopus in Evropa", 1700, No. 1345. 

The etching represents, in the foreground, an ass in a lion's skin, as in the 
fable cited below, a goat in that of a buffalo, and a hare in that of a cat ; they 
are walking on a road and followed by a fox. In the background a lion tears 
the ass, a bull tosses the goat, and a tiger pursues the hare. 

The text contains allusions to the Dutch East India Company, Batavia, 
Java, the French king, French harlots, the French fleet, Lisbon, the pirates of 
Madagascar, the Persian Gulf, the English " Logics" (Factories ?), Naples, Spain, 
Sicily, the Elector of Cologne, Liege, Savoy, Antwerp, the Marquis Caracena, 
Ghent, Bruges, the Khalif, the " Negris, of de Kyzer, van Paap Jans Land 
(Abyssinia), &c. 

The text is to the following effect : 

The Bonfire of Cremona. 
A Conversation between the Navigator from Sappetau, the Orenbaar, and 

Hannekenuyt. 
The first two enter into conversation, and the Navigator, whose life is spent 



132 



WILLIAM III. 



[1700 



on the sea, describes the deeds performed by the Dutch in the East Indies, 
when they landed first there and fou<rht. with the Javanese, who, losing more 
and more, cried: "Look, those Dntch dogs fight with mud." (The Puuh had 
no ammunition, and fought with what they could get.) lie knows, also, how 
the French had tried again and again to send fleets to the East Indies, and to 
take the colonies of the Dutch. The last fleet which was sent made 
progress by means of the greatest possible treasons, and the natives witnessed 
how they fell victims to the false French. At length, the French fleet was 
destroyed, except one ship, which came back to Lisbon. The Orenbaar is very 
much afraid of the French, and quite desperate when seeing their success in all 
their undertakings. He supposes the French to be very courageous, but Han- 
nekenuyt and tho Navigator know stories about that, and laugh at the Orenbaar, 
who is a Fleming, about whom there is an old proverb: "The younger, the 
more stupid ; the older, the madder." The Navigator, who ascribes all the 
pretended victories of the French to boasting, tells the following fable : 

" The Donkeys, the He-Goats and the Hares were very angry at their hard fate 
and the little respect which men and animals had for them, and in order to 
change this, the Donkey put over his hide a lion's skin, the Goat dressed in a 
buffalo's hide, and the Hare provided himself with a cat's fur. They made music 
together, and frightened all the other animals. The Fox, however, perceives 
the Donkey's ears, and announces to the Lion that the animals are deceivers. So 
they are attacked and torn to pieces. But if one of them had only survived, he 
would have cried victory, just like the French." 
X * 



1376. 

DE SPAANSCHE CARRAVAAN. 
[The Spanish Caravan.] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 32, in " Esopus in 
Europa", Amsterdam, 1701 ; see "Esopus in Evropa", 1700, No. 1345. 

The etching represents the incident which is described in the Dutch text, of 
a Spanish gentleman, who, while travelling in Italy, had boasted that he would 
face Death and the Devil if they met him on the road, yet who tumbled off his 
horse in great terror when he encountered only a cavalier of the Pope's. The 
scene is a road near a fortress; the Cavalier ("een Curasier vanzyn Heilig- 
heids") ; a man in full armour, rides towards the front where the Spaniard, an 
old man with spectacles on his nose and wearing a great ruff, turns away in 
great haste at the appearance of the soldier; the traveller's ass is loaded with 
" een Pourtrait vanzyn Hoer", a pot for making chocolate, backgammon board, 
close-stool, guitar, a very long rapier and a dagger ; on the ground are a 
tortoise, snail, and soldier-crab, i.e. an animal which uses the shell of a large 
fish for a residence, and, on the slightest alarm, retreats to its depths. The 
traveller's ass starts back and brays in great dismay. 

The text contains allusions to the reverses of the French in Spain during 
the early period of the War of the Spanish Succession, see " De Grooten Waereld 
Verdeelder", Nov. l, 1700, No. 1340; "The Duke of Anjou Whipping 
Cardinal Torto-Carrero", Nov. l, 1700, No. 1342; "The Duke of Anjou 
stealing the Spanish Crown," Nov. l, 1700, No. 1343. There are likewise 
allusions to the Duke of Burgundy, son of the Dauphin, Marshal Broglio, Don 
John, Barcelona, the Marquis de Ilibeira, Guilio Romano, Spagnoletto, and 
Rubens, as artists of remarkable pictures. Barbarossa the Rover, the victory 



1700] WILLIAM III. 133 

at Cremona (see " Het Cremoneesche Vreugdevuur", 1700, No. 1375, the Silver 
Fleet, the Count of Ledesma, Milan, Naples, Majorca, Sardinia, Sicily, Minorca, 
the English and Dutch nations, Cardinal Porto-Carrero, the Arch-Duke Charles 
(Charles III. of Spain), see " Portrait of Charles III. of Spain, June 27, 1706 ; 
"La France Lamentant", June 27, 1706, &c. 

The text is a conversation, to the following effect : 

The Spanish Caravan. 
The Douegna, the Donzella and the Kropper. 1 

The above-mentioned converse primarily about the state of Spain, the 
fate of the queen, and afterwards speak about the new Spanish king (Philip V.), 
Louis's grandson; the Kropper asks, how the Spaniards felt under the French 
ruler. 

The Donzella answers, that this new monarchy is very bad, as dresses, manners, 
languages, walking, nay, the very dispositions of the two peoples, are opposed. 

The new king, who likes France better than Spain, has taken from the castle 
and the Escurial all the emblems of victories which the Spaniards won over the 
French at St. Quentin and Pavia ; the new king is in great distress, as all the 
surrounding nations have declared war against him and his grandfather. He 
will have to protect his throne against the most powerful peoples, viz. the 
English, German and Hollanders. This king must have a Spanish fig, whether 
he likes it or not, and the queen must marry the archduke Charles, so that 
Spain can have peace and rest in the end. The king must go, for that is 
grandpapa's desire, and moreover great preparations are made for a caravan 
with which it may go, as with a Spanish nobleman, who travelled in Italy, and 
bragged that he would fight any enemy, be it the Devil or Death himself. But, 
len a cavalier of the Pope made his appearance in the road, the foolish 
iggart was frightened to death, and tumbled from his horse, all his luggage 

>wing him. 

5 X 3f in. 



1377- 

E GESCHOOREN HOOP. 
[The Shorn Troop.] 

Volgens de Romeinse Copy. 1702. [1700] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 33, in " Esopus in 
Europa", Amsterdam, 1701 ; see " ^Esopus in Evropa", 1700, No. 1345. 

The etching represents a harbour near an Asiatic or North African city, 
re a boat approaches the shore, and a man, who takes off his hat in a very 
humble manner, salutes and applies to the Aga, (see below) ; two men stand 
behind the Aga ; in the mid-distance a man is receiving the bastinado, and a 
considerable number of persons are scrambling up a ladder which gives them 
access to a fort, where the French flag is flying. 

The text contains allusions to " die braave Comte Paul de Sardagne" Don 
John, the Pope, the Dutch, the Duke of Alva, the Marionite Pope, Admiral 
Beaufort, Tunis, Candia, the Sultan, Barcelona, the Persian Gulf, Abyssinia, the 
Red Sea, India, &c. 



iUUi 

* 



1 Kropper may mean a lady, who, like a pigeon with a great crop, has a great 
second chin. 






134 WILLIAM III. [1700 

The text is a conversation, to the following effect : 

The Shorn Troop. 
The Aga, The Arab, The French Vice-Consul and his servant. 

The Consul complains of his hard fate, how, having given up his old Protes- 
tant religion, he had turned Catholic, being afraid of the dragoons of Louis XIV. 
He wishes that all the French had done like the Dutch, who opposed the 
tyranny of Spain, and soon became free, nay, before long after were the first 
nation by God's blessing. The servant, who is also very angry, says " Mor- 
bleu! f enrage de T affront passe" ', being now a prey to the Turkish mob. He 
sees the Aga pass, and now the Consul falls upon him, threatens that he will 
complain to the French ambassador of the awful disgrace to which he is exposed, 
and adds, that Louis will soon send an army, and give the Turks a terrible 
example, and that Damiar (Damieta ?) which was taken by the French before, l 
shall be destroyed now by them. 

The Consul, however, knows quite another story about the taking of 
Damietta, and tells much which is to the shame of the French, adding that the 
Porte does not care a bit whether the French are angry or amicable with him, 
nor whether they are prosperous or unfortunate. Moreover, the French are 
treacherous, and try by any means to collect riches, by introducing false coins 
or stealing. But they will fare like those robbers in the Arabian deserts, who 
were a nuisance to all passengers, till they were caught by regular troops and 
killed. Some of them were, however, placed on savage donkeys and let loose 
in the wilderness, where they are going about with the following inscription : 
" Whoever goes out for wool, comes homes quite shorn." This terrified the 
other robbers so much, that, since that time, the roads remain safe. 

5 X 33- i, 



1378. 

DE GEFOPTE BEDRIEGER. 

[The deceived Deceiver.] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 36, in " Esopus in Eu- 
ropa", Amsterdam, 1701 ; see "Esopus in Evropa", 1700, No. 1345. 

The etching represents the rag-picker (see the fable which is related below), 
the Jewess, and the man of fashion (? fashionable tailor), seated under the 
branches of a tree. In the distance is an illustration of the tale told by the 
Jewess, see below. 

The text contains allusions to Louis XIV., the French courtizans, Alsace, 
Brabant, the Castle of Loches, the Prince of Wales, i. e. the Pretender, Don 
John, Paris, Cologne, the Stallion of Naples, 2 &c. 

The allusions of the conversation, of which an abstract is given below, are to 
an alliance of the French and Bavarians during the War of the Spanish Succes- 
sion. See "De Grooten Waereld Verdeelder", Nov. l, 1700, No. 1340; "The 
Duke of Bavaria in a Terrible Passion", July 18, 1705, No. 1434; "Louis XIV. 
Kicking the Elector of Bavaria ", July 18, 1705, No. 1435. 



1 By St. Louis in 1250, and the Dauphin, son of Louis XIV. 

2 See "De Napelsche Hengst " 1700, No. 1361. 



i 7 oo] WILLIAM III. 135 

The deceived Deceiver. 
The Gatherer of Rags, the Jewess, and the Man of Fashion. 

The Man of Fashion tells how he has made his way through the world as a 
tailor, at first in a ragshop, afterwards at the French and other Courts, which, 
however, all follow the French fashions. The Jewess relates how the French 
have taken away from Poland, where she lived in her youth, every thing, money 
and precious articles ; and adds that the king of France is the chief of beggars, 
and procures money by selling to his subjects, the other beggars, places and 
stands in fairs and market-days. Moreover, Louis is acknowledged to be the 
greatest rogue in existence, and the Man of Fashion says, that the Spaniards 
have an excellent proverb : 

" Whoever deceives a rogue deserves Pardons for six years ". 

The Jewess expresses her astonishment that German blood can ally with 
French blood, and that Brunswick can put up with France ; but she thinks 
the following fable, told to her some time ago, interesting and apposite to the 
circumstances : 

" The Tiger wanted to become chief of the animals instead of the Lion, and he 
therefore tried to ally himself with the Horses, in order to make them his slaves, 
as soon as the Lion should be overcome. So then he approaches the Horses with 
flatteries, gives them presents and laces of gold and silver ; he presents the Stal- 
lion with silver hoofs, and gives golden ones to the young ones and the Mare ; the 
Horses, however, tell the whole to the Lion and the Eagle. The fight is going to 
begin, and the Tiger sees that the Horses, instead of helping him to conquer, will 
help to destroy him. The Tiger is attacked, and he feels the force from those 
hoofs he had adorned." 

The Tiger is France, or Louis XIV., the Lion, William III., or Holland, the 
Stallion, Naples, the Horses are the smaller powers of Europe, the Eagle is the 
Empire. 



1379- 

DE GROOTE CHRISTOFFEL. 

[The Great St. Christopher.] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 38, in " Esopus in 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents St. Christopher, in the manner which is common in 
mediseval pictures and statues, bearing a child across a stream. A child is on 
the shoulders of the saint in the etching, who picks his way in the water, and uses 
a long staff of iron, which gives out flames. This is intended for Louis XIV. ; he 
has on his back an infant with a crown ; this is the Duke of Anjou, Philip V. of 
Spain, see " De Grooten Waereld Verdeelder", Nov. l, 1700, No. 1340; " The 
Duke of Anjou Whipping Cardinal Porto-Carrero", Nov. 1, 1700, No. 1342; 
" The Duke of Anjou stealing the Spanish Crown", Nov. 1, 1700, No. 13431 
"La France Lamentaiit", June 27, 1706; "The Distress of Louis XIV." 
(No. 1.), May 12, 1706. 

Under the arm of St. Christopher is a second infant, the Pretender, with 
a money-bag, from which coins are falling ; the coins are picked up, even 
before they reach the earth, by many birds ; see below. In the distance two 
gentlemen are squeezing a man in a press, so that he vomits coins ; see below. 



136 



WILLIAM III. 



On one bank of the river an old woman is seated, holding a lantern, and with 
money-bags at her side. On the other bank two ladies are walking, and 
behind them is a great crowd of persons. 

The text contains allusions to Charles V., the Duke of Burgundy and 
Anjou, James II. of England, the rivers Weser, Wesel, Tiber, Tagus, Rhine, 
Maas, Danube, Nile, &c., Louis XIII., the Silver Fleet, the Battle of Cape La 
Hogue, ! Admiral de Chateau Regnault, the French commander, the Prince of 
Wales, t. e. the Pretender. The following is an abstract of the conver- 
sation: 

The great Christopher : 

The Physician, the Gold-Seeker, the Confessor, and the Distiller. 

This is one of those tracts in which the bragging, boasting, jealous 
proud and god-like (?) Louis XIV. is introduced. Physicians encourage him, 
and he is, according to his own words, young again, though he has lost his teeth 
and his hair. He only waits for gold, in order to be able to wage war against 
his numerous opponents. He is more powerful than the gods of Ancient Greece. 
The Confessor flatters him and calls him the Jupiter of Europe, the Apollo of 
France. But the conversation is suddenly interrupted by the arrival of a man 
from the West Indies, and Louis hopes that he has brought gold home. But, 
alas ! the Distiller has brought nothing, and he states that the Dutch have taken 
much away. Now Louis (the Gold-Seeker) gets into a fury, and exclaims : 
" Filons, Vaten au didble avec laflotte, et tout" He pushes and drives all of them 
away, and thinks that the fleet has been sold to the Spaniards. Louis now sees 
the truth of the following dream which he had, and thus describes : "I dreamt 
that I had become greater that holy Christopher in Notre Dame at Paris ; my 
body stretched over several countries. I had in my right hand an iron staff, 
giving on all sides blows and gunpowder. I had under my arm the Prince of 
Wales with an open purse ; from this fell money, which was picked up by all 
kinds of birds, crying : * Sans retour '. The Due d' Anjou was on my back, 
and I saw behind me the French people under presses, the last money and blood 
being pressed out of them by ministers and soldiers, who cried : ' Tout pour la 
gloire du roi? But what most affected the king was a certain fox, who, with 
a thief's lantern in bis hand, made all kinds effaces at me, and said : 

" No flottas, ni Gallionas para Vos? And so the dream has been true. 
No gold anywhere ! " 

5i X 3| in. 



1380. 

DE MlSLEIDE POESJES. 

[The deceived Kittens.] 

Volgens de Eomeinse Copy. 1702. L^oo] 

[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 39, in " Esopus in 
Europa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 

The etching represents the Fox, as in the fable which is related below, 
attacked by the Cats whose Kittens he had slain, after having assumed the robe 
of a Precentor. The Fox is Louis XIV., the Cats are the Allies, England, 
Germany, and Holland, who opposed the French King in the War of the Spanish 

1 See "Le Crieur de Versailles", May 19, 1692, No. 1269; " Dcsolaten 
Invcntaris", &<-.. May 19, 1692, No. 1279. 



i 7 oo] WILLIAM III. 137 

Succession. In the distance the Fox, in disguise, is carrying off Goslings or 
Geese, and invading a sheepfold, after having killed many Sheep. 

The text contains allusions to the Pope, Marshal Bouflers, Wynendael, Louis 
XIV., and names of many places which had been ravaged by the soldiers of 
Louis XIV. The following is an abstract of the text : 

The deceived Kittens. 
The Dragoon, the Peasant, the Nun. 

This tract is satirical on the poverty in the French army, and on Catholicism. 
The Nun thinks that Louis XIV. respects religion very much, and will leave 
all the images in the churches and chapels, but the Dragoon knows better, and 
Bays that, however favourable Louis may seem, he is a very great enemy to pomp 
in churches, and likes better to make gold and silver coins of everything. The 
the conversation turns on superstition and wonderful facts seen by the converted. 
The Peasant knows many things of the French army, and the robberies 
committed by the soldiers wherever they come ; the Dragoon tells the following 
fable : 

" There was an old Fox, who had killed the sheep-dog while he was sleeping, 
and, after having taken the dog's skin, had led the whole herd far from the 
fold, where he killed the fattest sheep and dispersed the rest of the flock. 
News of this is soon spread among the Peasants, and the Fox, not knowing what 
to do, stole the cap of an anchorite, preached to the peasants, and destroyed their 
geese. The Peasants resolved to attack him, and he, in the utmost distress, 
took a surplice, stolen from a precentor, and began to sing the homilies ; he 
had his head shorn, and wetted his tail with holy water ; he sung, and was 
followed by several Kittens, who were soon lost by their mothers and killed by 
the singer. The mothers, made aware of the treason, attack the Fox, scratch 
his eyes, and so punish him for the destruction of the Kittens." 
X s . 



. 



1381. 

E GEPLUKTE TAPOEIJER. 

[The plucked Tapoeijer (Indian).] 

Volgens de Romeinse Copy. 1702. 
[By Romeyn de Hooghe.] 

THIS etching is on the title-page of a Dutch tract, No. 40, in " Esopus in 
pa", Amsterdam, 1701 ; see " JEsopus in Evropa", 1700, No. 1345. 
The etching represents an Indian falling on a rock between two trees. He 

ailed by several birds, including a vulture, parrot and cockatoo. 
The text contains allusions to the expected defeat of Louis XIV. and to the 
of others that he might be compelled to make restitution of whatever he 
had taken from them. It likewise comprises references to the Emperor, Queen 
Anne, William III., &c. 

The following is an abstract of the text : 

The plucked Tapoeian. 
The Buccaneer, the Pirate, and the Scotchman. 

There is first a conversation about the nationality and the manner of war- 
fare of the nations to which the speakers belong. The Buccaneer tells how 
treacherously the French had acted at Martinique, where the Spaniards had a 
great quantity of gold. The French, desirous of it, persuaded the Buccaneers 




'38 



WILLIAM III. 



[1700 



to attack the Spaniards in order to get the precious metal, promising them half 
of it. The Buccaneers did so, and delivered the gold to the French Captain, who 
threatenc'd to kill any Buccaneer who might desire his part. Next, they expatiate 
on Louis XIV. r s desire for power, and state that Queen Anne and the States* 
General have sent a declaration of war to Louis. The Buccaneer says that 
Louis must be a very stupid fellow if he craves every thing, or believes he can do 
that which was impossible to his ancestors, and he tells the following fable : 

" A certain Tapoeian had caught a bird, and was just going to kill it, in order 
to use its tail for his head-dress, when the bird offered to give him three pieces 
of advice if he would let him loose ; the Indian agreed to do so, and the bird 
said: 1. 'Never believe what is impossible'; 2, ' Never undertake what is 
impracticable' ; 3. 'Bear in mind that every one desires back what was once 
his own'. Now the bird is free, it laughs at the Indian, saying : ' I have ten 
pounds of gold in my crop, which prevents me from flying.' The Tapoeian 
believed that which was impossible, and hastened to the branches of a cocoa-nut 
tree in order to fly after the bird ; i. e. to try that which was impracticable. 
But, alas ! the branch breaks ; he falls down on the rock, and the blood pours 
from his mouth. Each of the birds, whose feathers he had pulled to adorn him- 
self, came back, and took them from his arms and hands and waist, as every 
one desires back what was once his." 

5 X 3| * 



1382. 

THE INFALLIBLE ASTROLOGER : or, Mr. Silvester Partrige's 
Prophesie and Predictions of what shall Infallibly happen in, 
and about the Cities of London and Westminster, every 
Day this Week. Numb. 2. 

Printed in Sand's Stables Inn, in Fetter-lane, adjoyning to Symond's Inn, in 
Chancery - Lane ; and are to be sold by John Nutt, near Stationer's Hall, 
in Ludgate-strect. MDCC. [l?OO] 

THIS broadside is headed by a woodcut, representing an astrologer seated at a 
table, holding a model of the planetary sphere in his right hand, an astrological 
instrument in his left. A man, who is bare-headed, and carries a large staif, 
approaches the other from our right. The block which furnished this illustration 
was worm-eaten when used for this purpose. The cut described as " The Astro- 
logers Bugg-beare, (No. 2.)", No. 830, much resembles the above. 

The text consists of mock astrological remarks and predictions, satirizing the 
diviners of the day. 1 See the references which are given with the same title 
"Numb. 3", same date, No. 1383. 

4 X 4 in. Brit, Mus. Library, 8 1 6. m. 19/14. 



1 See " The Accomplishment of the first of Mr. Bickerstaff's Predictions ; 
being an Account of the Death of Mr. Partridge, the Almanack-maker, 1708 ;" 
" 'Squire Bickerstaff Detected," " Elegy on the supposed Death of Partridge," 
and " The Epitaph," on the same person, all in Swift's "Works," 1801. 



i 7 oo] WILLIAM III. 139 



1383- 

THE INFALLIBLE ASTROLOGER ; or, Mr. Silvester Partrige's 
Prophesie and Predictions of what shall Infallibly happen 
in, and about the Cities of London and Westminster, every 
Day this Week. Numb. 3. From October the 2Qth, to 
November the 5th. 

Printed in Bond's Stables Inn, in Fetter-lane, adjoyning to Symond's Inn, in 
Chancery -lane, 1700. [17OO] 

Ax the head of this broadside is a woodcut, representing an astrologer standing 
within a magical circle, holding an open book and a staif ; the Devil rises through 
the floor of the room. Books and astrological instruments are in the background. 

The text consists of mock astrological statements and predictions, referring to 
the manners of certain classes of Londoners at the time ; tradesmen, yonng bar- 
risters, prisoners for debt, beggars, " quakers," &C. 1 

4i X 3 *' B^ Mus. Library, 816. m. 19/14. 



, 



1384- 

E MAIDEN GRANADEERE. 



[1700?] 

THIS engraving shows at full length a young woman dressed as a soldier of about 
the year 1700, holding a gun and sword, and with her hair hanging loose from 
under her hat. On her hat is a cipher of W. and M. for William and Mary. 
She lifts one leg and discharges a grenade at a fortified city which is in the dis- 
tance behind her. Troops appear in the background. 

Below the design are engraved the following verses : 

" FRANCE had her Pucelle for her Charles who fought 

And great defects upon our English brought 

Now to quit scores with them I thus appeare 

In the new mode of arms a Granadeere, 

Dare they peep forth at sea ! I'le soon their Pride 

Pluck down with one discharger, my broadside 

And if their Stomachs be so high at Land ; 

As they a Battle or a Seige will stand, 

The Shell I from my Mortar-piece let Fly, 

In feild or Town shall make all Quarter Cry. 

S* George for England, then and next to whom 

For thee great Brittain, I a Champion come ". 

In the distance is the sea, with ships sailing. 

X 8J- in. Department of MSS. Harleian, 5944, 12, 319. 

1 The text here was by Thomas Brown, (commonly called " Tom Brown,") 
See "Dr. Silvester Partridge's Predictions," 0/1700, No. 1396 ; " The Compleat 
Auctioneer," c. 1700, No. 1415 , "An Elegy on M r . Patrige", March 29, 1708; 
"Patridge" and "Bickastaf", 1708; "A Satire on an Astrologer", c. 1700, 
No. 1416. 



140 



WILLIAM III. 



I385- 

COURT AND COUNTRY: or, The Courtier Unmasked. In Twc 
Cases. Taken out of the Famous Letter to the King of 
Sparta. 



[By K. White.] 



[1700 



AN English broadside, with two bust portraits by R. White ; that on our righl 
represents Bedloe, the informer and witness who was concerned with Titus Oat 
in the " Popish Plot," and died at Bristol, Aug. 2O, 1680. See " The happy In- 
struments of Englands Preservation," No. 1114. The other portrait is of 
unknown person; it is, like the former, inclosed by an oval frame, and represent 
the individual nearly in full face, slightly turned to our right; the eyes are to 
front. 

The following text is given, in letter-press, below : 

" It is one of Theophrastus's sayings, which is left upon Record ; That It 
but a short-lived Falshood, which is raised by Envy and Defamation. I must owi 
I have often thought, with some of the best and greatest Men, that any Libel, 
Report, which is really false and groundless, must turn to the Advantage of ths 
Person it was designed to hurt, and to the Confusion of his Enemies, if he is 
fairly permitted to defend himself. In the Law we frequently put fictitious Cases: 
I shall beg leave to illustrate the Position I have laid down, by supposing two vc 
strong Cases ; one in relation to a Private Man ; and the other, to a First Minister : 
though, perhaps, neither of these Cases ever did, or ever may happen. 

" The Case of a Private Gentleman. 

" Suppose a private Gentleman should have something to say to his King, 
his Queen, which he conceived it was of the utmost Consequence they should know ; 
suppose that at last, after a long, a most expensive, and a most humble Applica- 
tion, he should have the strongest Reasons to believe, that what he had to say 
would be graciously heard ; though a certain Courtier (for Reasons best known to 
himself) had used an hundred Tricks to prevent it. Suppose this same Courtier, 
when he saw all his little Arts defeated, should at last have the consummate Assur- 
ance, upon the very Day this Gentleman expected his Audience, to raise a Report, 
that the poor Gentleman was a Lunatick ; and should cause this to be asserted by 
his Tools, with so much Confidence^ and seeming Pity for the unhappy Gentleman, 
at all the Publick Tables at Court, in several Assemblies, and last of all in Print, 
that most People at length should firmly believe the Fact : It must be owned in 
this Case that the poor Man would be in a deplorable Condition, especially, if his 
private Fortune had been before torn in Pieces in an extraordinary Manner, and 
he had now little to subsist upon, besides a Profession, where few People choose to 
employ a Madman. 

" There is no doubt, but as our Law stands, such an unhappy Man might fill 
Westminster- Hall with Actions against the Tools of the Courtier ; and yet, if he 
consulted me, I could not advise him to apply to that most laudable Part of our 
Constitution the Crown-Office. I should only counsel him to appear in Publick 
little more than he used to do, and to depend upon it, that, as bad as the World is, 
Mankind would soon look both upon the Courtier and himself in a proper Light. 

" The Case of a First Minister. 

" Suppose in any European Nation, a Man of great Integrity and Abilities, who 
had travelled into other Kingdoms, made many excellent Observations upon their 
Government and Trade, and was a perfect Master of several Languages; I say, 



1700] WILLIAM III 141 

suppose such a Man, for the honour of his Prince, and as a Blessing to his Coun- 
try, should be placed in the Post of First Minister; that as he was a perfect Judge 
of Men, and his own Genius was universal, he should be content to take the Trouble 
of finding out proper Persons for all Preferments, and of managing all Affairs, both 
'Foreign and Domestick : I will suppose that this accomplished Minister had made 
several Treaties highly to the Honour of his King- ; and by virtue of which, Trade 
and Commerce were put upon such a Foot, that his Country was in a fair Way of 
acquiring a great Part of the Wealth of the World : It is not impossible but Envy 
and Impudence might attack such a Minister ; that some malicious People might 
pretend the Treaties he had made were neither an Honour to his Prince or Country; 
1 that some impudent Wretches might assert, he neither understood Foreign Affairs, 
, nor ever could understand them, because he was unable to converse with Foreigners : 
and that he was so far from being a Master of Languages, that he could not even 
speak French. This last Insinuation would be extreamly malicious ; since French 
is a Language most Gentlemen speak, in which the great Affairs of Europe are 
carried on ; and since any Body may guess, what sorry Stiaff Conversation must be, 
when 'tis managed by an Interpreter: Yet should a great and an accomplish'd 
Minister be thus wickedly defamed by Envy and Impudence, I do strongly affirm, 
that he need have no manner of Recourse to Prosecutions, Informations and Acts 
of Power : His Treaties would speak for themselves. While a trading Nation felt 
the Wealth of Europe daily flowing in upon them, With what Abhorrence and 
Detestation would all his Slanderers be looked upon? As to the last Piece of 
Scandal, his Want of Languages; if I was of his Privy -Council, he should take no 
other Notice of it, than by making an Entertainment for Foreign Ministers ; at 
which, when he had talked with the greatest Fluency to every Man in his oivn 
Tongue, I durst pawn my Life upon it, all his Enemies would be sufficiently con- 
founded." 

The first portrait, and probably the second, which has not been identified, have 
nothing to dp with the text. 

! 3$ X 4f-fn. 

2. 3^ X 41 ^. 

AS 



1386. 



SATIRE ON THE ALLEGED HYPOCRISY AND VICES OF THE 
QUAKERS. 

[c. 1700] 

THIS woodcut is in three divisions, the upper one represents, at full length, a 
Quaker standing on a tub, wearing his hat and preaching to many men and 
women, who occupy a room ; five persons appear in a part of the room which is 
shut off from the rest, having two openings, by means of which they attend to 
the discourse of the preacher. One of the listeners leans his hands on a stick 
and seems lost in meditation, caused by the words of the preacher. 

The lower division, on our left, shows a man and woman, Quaker and 
Quakeress, seated in a room by candlelight. It is evidently intended to repre- 
sent an amorous meeting. The lower division, on our right, shows a bed- 
room, where a Quaker has a woman, not a Quakeress, seated on his knee. A 
woman and a man enter the room, or are concealed there, to observe the conduct 
of the former two. 

For satires on the Quakers, see " The Quakers Synod", 1699, ~^- 1 339- 
2f x 4j- in. Department of MSS. Harleian, 5975, 13,247. 



142 



WILLIAM II L 



[1700 



1387- 

A SATIRE ON THE QUAKERS. 

[c. 1700] 

This woodcut consists of a satirical half-length portrait of a man in a broad 
brimmed hat, who is in the act of preaching, with a " sanctimonious" expression 
on his features ; his right hand is raised, with a glove on it, the fingers of which 
are very loose. He has a cloak about his shoulders, his hair is very long, 
woodcut was probably cut from a book which satirized the alleged hyj 
of sectaries in England, and may have been intended for a portrait. 

For satires on the Quakers, see " The Quakers Synod", 1699, No. 1339. 

3 X 3 in. Department of MSS. Harleian, 5975, 13,246. 



1388. 

" T. BROWN'S WORKS IN PROSE AND VERSE." (No. i.) 

E. K. 1 inven. [c. 1700] 

THIS engraving is the frontispiece to the first volume of " The Works of Mr. 
Thomas Brown (commonly called 'Tom Brown'), Serious and Comical," &c., pro- 
bably intended for the edition of 1708 (1079. m. 15-) 

It represents a man seated and leaning his head on his hand, and his elbow on a 
pedestal, and holding in one hand a pen which indicates a paper on which is written, 
"Satyr agt Wit;" a second person, standing behind, points to this inscription, and 
looks at the portrait of Thomas Brown, laurcaled, which a satyr holds up to view; 
on a label attached to the portrait is " Hie ille est" A female figure, flying in the 
air, holds a scroll, on which is written the above title. 

4 X 6 in. 



1389- 

" T. BROWN'S WORKS IN PROSE AND VERSE IN 4 VOL." 
(No. 2.) 

[c. 1700] 

THIS engraving is the frontispiece to the first volume of " The Works of Mr. 
Thomas Brown (commonly called 'Tom Brown')," &c. The fourth edition, London, 
1715. It is a copy from the print described as (No. 1.) under the same title and 
date, No. 1388. The inscription on the paper which lies before the seated figure is 
" Satyr again" Wit." 

This print was used for the editions of the same author's works which we 
published in 1720 (12271. a.) and 1760 (245. i. 3.) 

2-g. X 51- in. Brit. Mus. Library, 12270. 



Edward Kirkhall ; see " The Declamation of Advarbs," c. l 700, No. 1394. 



i 7 oo] WILLIAM III. ,43 



1390. 

" LETTERS FROM THE DEAD TO THE LIVING IN THRE PARTS 
BY MR. THOS : BROWN." 

[c. 1700] 

THIS is the engraved frontispiece to " The Second Volume of the Works of Mr. 
Tho. Brown, Containing Letters from the Dead to the Living, Both Serious and 
Comical," &c. " London Printed, and are to be Sold by B. Brao-o-, at the Raven in 
Pater-Noster-Row. MDCCVII." 

This print illustrates, in several groups of figures, so many portions of the text. 
In front appears Styx, with Charon ferrying a company of gentlemen, apparently 
those whom the boat-master had primarily refused to transport, in default of his 
fare, which they could not furnish ; " Jo. Hains," the supposed writer of the first 
Letter, 1 was one of those who stood on the terrestrial side of the river until, vide 
p. 4, "an Honest Teller of the Exchequer, and a Clerk of the Pay- Office" 
came to our relief; " who, understanding our Case, cry'd out, Come along, Gentle- 
men, we have money enough to defray Twenty such Trifles as this ; God be praised, 
we had the good Luck to die before the Parliament looKd into our Accounts. With 
this they gave Charon a Broad-Piece each of 'em, so our whole Caravan, consisting 
of about Seventy Persons in all, that had not a Farthing in the World to bless 
themselves, ferry'd over to the other Side of the River." In crossing the Styx 
Charon tells his passengers anecdotes of those who had passed before them. 
" Charon assured vis, upon his Veracity, that the late King of Spain was forc'd to 
lie by a full Fortnight for want of money to carry him over ; for Cardinal Porto- 
carrero^ had been so busie in forging his Will, that he had forgot to leave the poor 
Monarch a Farthing hi his Pocket ; and that at last, one of his own Grandees, 
coming by that Way, was so complaisant as to defray his Prince's Passage ; and 
well he might, says our surly Ferryman, for in five Years time he had cheated him 
of Two Millions," p. 5. Arrived on the other side of the stream, at the city Braudi- 
polis, the author met Mr. Nokes, 3 the comedian, who became his guide in Hell 
(? Hades), and first took him to a place " a little blind Coffee-House, in the middle 
of a dirty Ally, but certainly one of the worst furnish' d Tenements I ever beheld : 
There was nothing to be seen but a few broken Pipes, two or three founder'd Chairs, 
and bare naked Walls, with not so much as a superannuated Almanack, or tatter'd 
Ballad to keep 'em in Countenance ; so that I could not but fancy myself hi some of 
Love's little Tabernacles about Wild-street or Drury-Lane. Come Mr. Haines (the 
Author of this letter), and what are you disposed to drink ? What you please, Sir. 
Here, Madam, give the Gentleman a Glass of Geneva. As soon as I had whipt it 
down, my Friend Nokes plucking me by the Sleeve, and whispering me in the Ear, 
Prithee Jo, what dost think that Lady at the Bar is ? I consider'd her very attentively, 
by the same token she was three times as ugly as my lady Fright all, Countess of 
and three times as thick and bulky as Mrs. Pix the Poetess, and I very fairly 
told him, I knew her not Why then I shall surprise you. This is the famous Semi- 
ramis. The Devil she is ! answer'd I," p. 6. This is one of the subjects represented ; 
then follows the next, of Cyrus, who appears as an itinerant snuff-seller, of whom 

1 See "Joe Haynes's Mountebanks Speech," c. 1700, No. 1399 ; "Joe Haines 
Epilogue," c. 1700, No. 1405, and the references which are given with those 
entries to this Catalogue. 

2 See "A Satire on the Testament of Charles IE. of Spain," Nov. l, 1700, 
No. 1341. 

3 For " Mr. Nokes," see " Joe Haines Epilogue," c. 1700, No. 1405; " The 
Pall Mall of Brandipolis," c. 1700, No. 1397. 






144 



WILLIAM III. 



[1700 



the author exclaims, "But that 1 am in tliis lower World, cry'd I, I durst swear 'tis 
the very individual Quaker that sells his Herb-Snuff" at the Rainbow Coffee-I louse," 
p. 7. Quitting the Coffee-House of Scmiramis, the friends strolled in the streets. 
" We \\alkt through half a dozen Streets without meeting anything worthy of ob- 
servation. At last my Friend Nokes, pointing to a little Edifice, which exactly re- 
sembled Dr. Surges'* Conventicle in Russel- Court ; l says he, your old Acquaintance 
Tony Lee, who turn'd Presbyterian Parson upon his coming into these Quarters, 
holds forth most notably here every Sunday; Jacob Hall and Jcvon are his Clerks, 
and chant it admirably. Mother Stratford, the Dutchess of Mazarine, my Lord 
Warwick, and Sir Fleetwood? are his constant Hearers, and to Tony's everlasting 
Honour be it spoken, he delivers his Fire and Brimstone with so good a Grace, 
splits his Text so Judiciously, turned up the Whites of his Eyes so Theologically, 
cuffs his cushion so Orthodoxly, and twirls his Band-strings so Primitively, that 
Pluto has lately made him one of his Chaplains in Ordinary. From this we crossed 
another Street, which one may properly enough call the Bow-street or Pall- Mall 
of Brandipolis. No sawcy Trades-man or Mechanick dares presume to live here, 
but 'tis wholly inhabited by fine gaudy fluttering Sparks, and fine airy Ladies ; 
who in no respect are inferiour to yours in Covent- Garden. When the sky is serene, 
and not a Breath of Wind stirring, you may see whole Covies of them displaying 
their Finery in the Street ; but at other times you never see 'em out of a Chair, 
for fear of discomposing their Commodes or Periwigs. We had not gone twenty Paces, 
before we met three flaming Beaux of the First Magnitude, the like of whom we 
had never seen in the Voorhout at the Hague, the Tuilleries at Paris, or the Mall 
in St. James's Park. They were all Three in Black (for you must know we are in 
deep Mourning here for the death of my Lady Proserpine's favourite Monkey) but 
he in the middle, tho' he had neither Face nor Shape to qualify him for a Gallant ; 
for he had a Phiz as forbidding a Beau Wh ker, 3 and was as thick about the Waste 
as the fat Squab Porter at the Griffin-Tavern in Puller's- Rents; yet he had a most 
Magnificent Figure : His Periwig was large enough to have loaded a Camel, and he 
had bestowed upon it at least a Bushel of Powder, I warrant you. His Sword-knot 
dangled upon the Ground, and his Steenkirk that was most agreeably discolour' d 
with Snuff from top to bottom, reach'd down to his Waste, He carried his Hat 
under his Left- Arm, walkt with both his Hands in the Wast-band of his Breeches, 
and his Cane that hung negligently down in a String from his Right- Arm, trail' d 
most harmoniously against the Pebbles, while the Master of it, tripping it nicely 
upon his Toes, was humming to himself, 

' Oh ! ye happy happy Groves, 
Witness of our tender Loves.' 

Having given you this Description of him, I need not trouble my self to enlarge 
upon the Dress of his Two Companions, who, tho' they fell much short of his 
inimitable Original in point of Garniture and Dress, yet they were singular enough 
to have drawn the Eyes of Men, Women, and Children after 'em in any part of 
Europe. As I observed this sight with a great deal of Admiration, Mr. Nokes very 
gravely asked me, who I took the middlemost Person to be ; upon my telling him 
that I had never seen him before, nor knew a Syllable of him or his private History ; 
Why, says Mr. Nokes, this is Diogenes the famous Cynic Philosopher, and his Two 
Companions are George Fox, and James Nay lor the Quakers," pp. 8, 9. To this follows 



1 See "Dr. Burgises Theater," March l, 1710; "Daniel Burgess preach- 
ing," 1710; " Frontispiece to ' The Fifth and last Part of Vulgus Britannic //*,' " 
1710. 

2 Sir Fleetwood Shepherd, knighted by William HI. See Prior's " Epistle " 
to him. 

3 ?Beau Whitaker . 



i 7 oo] WILLIAM IIL 145 

a humourous account of the alleged luxury of Diogenes ; of George Fox and James 
Nayler we have " For who the Plague wou'd have believ'd that that ancient 
Quaker Diogenes, and those modern Cynics, Fox and Naylor, should degenerate 
so mu